I Reject the Imaginary White Man Judging My Work

It felt like someone was standing over my shoulder. The presence was palpable, so much so that I physically kept turning around even though I knew I’d find no one standing there. When I turned back to my laptop to finish the personal essay I’d been working on for about two months, the sinking feeling that someone was watching and judging me returned. That voice in my head repeated the questions I kept trying to push back: “What will they think?” “Will it sell and to whom?” “Will these words activate the Defcon level of racist trolldom I’ve seen other writers endure?”  

These inquiries felt detached from my personal intentions and yet they still pummeled me. They were integrated somehow into my being, even as they unraveled me emotionally. They distracted me from the questions that should have been most important at the time: “What did I really want to say in this essay?” “How will I best show confrontation in my story?” “What does dignity look like when disrespect has been enacted against it? And why is dignity necessary in this particular telling?” “What is dignity anyway?” Inevitably, as one can see here, questions like these lead me outside myself. Who defines what it means to be dignified in American culture? How has dignity and respectability been defined for Black folks and how should that show up in our art? These questions take me outside of my lived experiences as a Black woman raised in the South and living on the East Coast; a mother wrestling with all the things moms do; a person with a story to tell that might be more unique than universal. They lead me into the realm of perception and how said perceptions potentially affect the way I tell my story and where it will ultimately be read. They lead me to the white gaze. 

These questions take me outside of my lived experiences as a Black woman. They lead me to the white gaze. 

Toni Morrison once said, “What I’m interested in is writing without the gaze, without the white gaze. … In so many earlier books by African-American writers, particularly the men, I felt that they were not writing to me. But what interested me was the African-American experience throughout whichever time I spoke of.” What I gather from the godmother of literature is that it doesn’t only matter that I’m a Black woman telling my story. What matters is the lens through which I’m telling it. And sometimes, many times, that lens, if we’re not careful, can be tainted by the ever-present consciousness of Whiteness as the default. Whiteness as gatekeeper. Whiteness as the dominant narrative even in stories where all the players are Black. Thankfully, in the last five to ten years or so, there have been writers, particularly in non-fiction and memoir, who have walked with pure swag and intention through the door that Mother Morrison kicked down. 

Regina Bradley, assistant professor of English and African Diaspora Studies at Kennesaw State University and author of the forthcoming book Chronicling Stankonia: the Rise of the Hip Hop South, recently challenged the threads of white supremacy—which ultimately fuels the white gaze—in Southern literature. “In particular, the southern literary canon is a monument of white supremacy,” she wrote in a Facebook post (which I’ve reproduced with permission). “People get huffy and in their feelings when you de-center white people [when] talking about the south. Cut and dry, the canon represents what is considered the ‘best of’ for a particular historical moment that is documented in literature and culture. Usually this documentation is heralded as white, male, conservative. It [also] tokenizes people who ain’t white, male, or conservative.” She goes on to dismiss this presentation of Southern literature as authentic, especially the canon’s interpretation of Black southern characters and writing:

When I study southern Black writers, I keep “southern blackness ain’t a monolith” and “white folks ain’t needed to understand southern blackness” at the front of my mind. I write about Jesmyn Ward [author of the memoir Men We Reaped] and Kiese Laymon [author of Heavy: An American Memoir] in my book. I use southern Black lit and culture to understand what they are trying to do. It’s a pushback against trying to push them out of the Black South into the comforts of a white imagination. I address the Faulkner parallels because they’re both from Mississippi but point out that they subvert Faulkner’s Yoknapatawpha trope (Laymon’s Melahatchie County and Ward’s Bois Sauvage) to center southern Black people. White folks on the fringes. That’s real. In their work, southern Black folks are complicated, broke, and far from flat. They let the messy and the ugly shine through with the tenderness and humor and communities they inhabit. What southern white writer do you know that can create messy, janky, and humane black characters?

I know the answer to that. There are none. Because while white writers can certainly access messy and potentially janky, the white supremacy that shows up even in their most progressive and well-intentioned attempts always seems to leave the humanity out. 

Black writers who have been able to successfully disconnect themselves from the white gaze seem to do so with extreme intentionality. Rebecca Carroll—cultural critic, host of WNYC Studios’ podcast Come Through with Rebecca Carroll: 15 Essential Conversations about Race in a Pivotal Year for America and author of the forthcoming memoir Surviving the White Gaze—chose to “divest from the white gaze” in telling the story of forging her identity as a Black woman in light of a completely white childhood.  “[I wanted to] unpeel the layer of definition it painted on me as a child and then all the way through my childhood,” Carroll told me in an interview. “And that definition was multifaceted. It was about beauty standards and language and anti-Blackness and erasure—so I had already begun to disengage from that voice and disempower that gaze when I started writing the book. And that I think is a process that is very personal. There’s no one way to do it, because how to disarm it has so much to do with its original hold on you.”

The white gaze looms for Black writers who want to be published in the mainstream, because overwhelmingly, white people still hold the keys to the kingdom.

For me, the original hold of the white gaze is very much connected to the trauma response of “I am not enough.” Because of how I processed early childhood experiences, I’d long become invested in this idea that I had to be three times better, stronger, and more persistent than anyone else in order to be generally seen and loved and recognized as talented. Triple all of that if I wanted the perception of me to be equal to the way white people are perceived—white people who may or may not even have the same level of tenacity or talent as I did. This has never been more evident than when I entered the publishing industry as a writer and editor. The white gaze looms for Black writers who want to be published in the mainstream, because overwhelmingly, white people still hold the keys to the kingdom. The recent uproar over #publishingpaidme is a prime example of the extreme disparities that exist in the industry despite Black writers proving their worth and work a hundred times over.

Carroll makes it very clear that the white gaze is still pervasive in the publishing industry, even now, in a time when the business has gone near-acrobatic in trying to contort itself as Black lives-affirming by publishing any and every Black voice possible. Even as I personally choose to leverage this access, I can’t help but be somewhat skeptical of it. Carroll affirms that skepticism:

It’s everywhere in marketing and jacket copy—all the Black characters are described as Black, and the white characters are just people. Because, of course, the default is always white. Insofar as interest in Black stories in publishing…amid this so-called “racial reckoning”—I will say that it’s not a reckoning if there isn’t long-term accountability and transparency around the evolution of thinking. So if you’re super hype for my Black folks’ lives and stories right now because people are protesting, you’re going to need to be very clear about why you weren’t interested six months ago. And also be really honest about where you think you’ll be with that energy in six months from now. It’s not just about making permanent change, it’s about finding the language of accountability.

The good thing is, memoirs like Heavy by Kiese Laymon, The Cooking Gene by Michael Twitty, and More Than Enough by Elaine Welteroth—all very different stylistically—seem to have been able to eschew the white gaze while still finding acclaim within the “system” of publishing. Maybe there is a glimmer of hope? I’m not sure. I often wonder what it means that we (the collective “we”) are so desperate for the validation of the mainstream. But then I remember that, for some, it has less to do with validation and everything to do with access and resources. I’ve published both traditionally and independently. The latter gave me freedom, the former gave me access. I could never deny how intertwined these two things are. I would never deny that I want both.  

If we choose to not write about race or social issues related to race, are our stories just as viable? They should be.

Nevertheless, if we are solely considering the work, it’s evident that we are seeing more writers free themselves from the gaze. Take Laymon’s Heavy, for instance. He writes: “My body knew things my mouth and my mind couldn’t, or maybe wouldn’t, express. It knew that all over my neighborhood, boys were trained to harm girls in ways girls could never harm boys, straight kids were trained to harm queer kids in ways queer kids could never harm straight kids, men were trained to harm women in ways women could never harm men, parents were trained to harm children in ways children would never harm parents, babysitters were trained to harm kids in ways kids could never harm babysitters. My body knew white folk were trained to harm us in ways we could never harm them.” Laymon doesn’t try to hide from the intersectional nature of violence. He clearly delineates the perpetrator and victim at every intersection—gender, race, sex, age. It’s all there, without apology. 

One of the ways that Black storytelling is often subverted by the white gaze is the insistence on defined categories for our work. If we choose to not write about race or social issues related to race, are our stories just as viable? They should be. A few years ago, I wrote an article for The Guardian about the complexities of writing and race within the publishing industry. I stated that too often it’s believed that “good” writing by black authors is birthed from oppression; that marginalization is viewed as a key marker for black literature. Sadly, this implies that there is some mandatory link between the sociological or political status of Black people and the authenticity of the stories that come out of that experience. Today, in the wake of the uprisings around the murder of George Floyd and Breonna Taylor, the New York Times best sellers list is filled with books about race, racial justice, etc. And rightfully so. But I suppose I wonder if the white gaze subverts the breadth and depth of other stories by Black writers. 

Any time a writer takes the courageous step to tell a story, it’s a revolutionary act. It’s an act of exposure.

Any time a writer takes the courageous step to tell a story (fiction or nonfiction), it’s a revolutionary act. It’s an act of exposure. For Black writers, this is especially true. If we consider revolution to be about overhauling a culture or society or overturning the systems that hinder a culture or society from working at its best and most humane…then who does that better than the scribes who feel led to chronicle our stories? Writers have the capacity to expose the nuances and complexities of a culture and its people—good and bad—and shift how that group is seen, and maybe more significantly, how that group sees itself. 

The challenge is when that capacity becomes a clearly defined box that hinders the telling of stories outside of what white folks in publishing deem “Black enough” and therefore sellable. 


The elders in my family certainly were storytellers. I grew up in Louisville, Kentucky. I used to sit and watch my aunts and uncles play Spades or Pokeno and tell the tallest of tales. My nanny (great-grandmother) used to talk about growing up in Alabama, and every time she’d tell the story, a little bit of it would change. This gave me an incentive to listen. I suppose she could have explained the economic disparities that led to having no shoes or having to leave school to work the fields. I’m not sure I would have been moved by that as much. It was her joy and pain and carefully crafted avoidance of “foolishness” that made her stories real to me. 

There has always seemed to be a desire by some Black writers to tell the stories that exist outside of or in tandem with our social positions. Stories where the narrative is less about commenting on political or social challenges directly—as the white gaze often expects us to do—and more about illuminating our humanity within these white supremacist power structures and institutions. To tell an “ordinary” story about the joy I felt as a little Black girl doing cartwheels in a park is, maybe sadly, revolutionary. To tell a story about being a Black man who falls in love and loses said love and then falls in love again—and to tell it with no agenda, with no apparent consciousness of the “white gaze,” with no firm commitment to the pathologies of the hour—is necessary.

To tell an ‘ordinary’ story about the joy I felt as a little Black girl doing cartwheels in a park is, maybe sadly, revolutionary.

Breaking news: Black people have families and jobs and romantic interests and hobbies and challenges and yes, we have all of this within systems not designed for us, and yet we exist. We live and love and die. Those institutions and structures don’t HAVE to be in the forefront of the stories we tell and it’s also okay when they are. The question is more about who is driving the agenda of which stories get told.

Unfortunately, most Black writers who aspire to do this for a living must contend with is reconciling the work we want to do with the ways in which it’s received. This raises the question of whether we can ever truly be rid of the white gaze. Black stories and literature will always be critiqued through the lens of wherever Black people exist in society in that moment. 

So as I continue to write my essay, fully cognizant of the white man standing over my shoulder and the white supremacy and patriarchy that looms ever present in this business, attempting to distract me from my story with tainted whispers of “what if no one loves it?” and “maybe that’s a wee too Black,” I choose to, in the vein of Laymon and Carroll and others, banish him to the void where he belongs. If I’m honest, it’s hard to not tie my worth to these stories I tell. But if I’m going to do that, they might as well be fully and wholly my stories, told the way I would tell them, for people who will get it. Gaze be damned. 

Emma Straub on the Future of Indie Bookstores

Emma Straub is a New York Times bestselling author and owner of the beloved independent bookstore, Books Are Magic in Brooklyn. Her latest novel, All Adults Here, explores the complexity of love for your family, the love for yourself, and for the town you grew up in. 

All Adults Here by Emma Straub

The story revolves around Astrid and her adult children, all living in a small town where people love to talk but rarely address the unresolved issues they have with one another. The day Astrid witnesses Barbara, a woman whom she doesn’t necessarily like, get hit by a bus everything changes. Astrid starts questioning her role as a mother, lover, and human. Life suddenly seems messier to Astrid, more fragile, without always allowing enough time to say what needs to be said. 

But this isn’t a sad book about life’s frailties. Quite the contrary. It’s a feel-good story at its finest, with characters that are humble, real, dysfunctional, and downright delicious. Each one is so finely layered, relatable, and easy to love—flaws and all. The flaws especially. Everyone knows everyone in this cozy little town of Clapham. Childhood friends have long since blossomed into adult ones, neighbors aren’t afraid to get into each other’s business, and the kids are often more in-tuned than the adults think. But everyone has their secrets, which begs the question: how well can we truly know a person? 

And although the world, and the people in it, can remain a mystery one thing this book reinstates is the importance of togetherness in one family. Your family is always there for you no matter what. And no matter how crazy they can drive you.   


Carissa Chesanek: I love how the book is about family—and a big one at that—relating to the complications and drama, but also the love that is unconditional. Where did the idea behind this particular family come about? 

Emma Straub: It starts with one person and then you build it from there. I knew that I wanted it to be multi-generational so I knew the family had to be of a certain size. I wanted sibling relationships, parent to child and grandparent to child. I needed all of those interconnecting and overlapping relationships. I just kept adding people until I felt like the family was there.

CC: Astrid changed after witnessing Barbara get hit by a bus. It ultimately allowed her to grow closer to her children and show more affection while giving her the courage to come out about her relationship with Birdie. Why do you think that is?

It’s so hard to run a business right now. People are scared, the world is scary.

ES: I think all of us are holding on to certain things. You know, certain slights or psychic traumas of one kind or another, and we don’t always recognize those things consciously. But I don’t think Astrid would have had Barbara on a list of things that were weighing on her before she got hit. It was seeing this thing happen during this experience that provided a sense of relief and sort of release. It just sets her on her merry way.

CC: I’d like to go back to the subject of affection and relationships for a minute. The story intertwines this sense of love within family and love within personal relationships, which to me, seems similar in a lot of ways. Astrid questions her love for Birdie, wondering if it’s romance or codependence, with this “overwhelming need for another person in order to function.” Yes, that is romantic but that also seems a lot like unconditional love for family. Porter also says “knowing a body so long and watching it change” can be both maternal and martial. Was intertwining the two types of love something you were interested in exploring?

EM: Yeah. My husband and I have been together for almost 20 years. Your partner becomes your family, not just with time or when you get married or whatever. It’s not the symbolic act, but it’s the literal number of days that you spend together under the same roof and the amount you have to trust each other and rely on each other. I think that I do see those things more equivalent maybe than I used to when I was younger.

CC: I’m glad you brought up the past because I feel that’s examined a lot in this story. More specifically, how the past impacts the present within grief, loss, and heartache in general. Astrid and her kids still mourn the loss of Russell, while Porter also grieves the loss of a high school love, and both Nicky and Elliott struggle with their mother’s past reactions that caused them pain. How important were these issues for you when writing this story?

EM: That’s definitely something that I didn’t think about or plan. It sort of evolved. That’s one of the things I love about writing fiction. I started writing this book thinking that I wanted to write this very romantic, small town love story but then as you get to know the characters, things deepen and change. The loss of their father was a thing that I didn’t really figure out until several drafts in when these kids, who are now pushing forty, are in these moments of change in their adult life or in emotional crises, and would think about the parent they were missing in addition to the one who’s still there. And, you know, at least some of them, maybe all of them, would idealize the parent that was gone. Because, you know, how can you not, right?

CC: We’ve been chatting a bit about Astrid’s kids, who are not actually kids anymore, but let’s veer toward someone who is in fact, a kid: August, who plays a significant role. August is transitioning to Robin and ultimately shows us the importance of being true to oneself no matter how scary. Can you talk more about this?

We are all trying our best to keep our businesses afloat and to make sure our employees have jobs. But man oh man, we are tired. 

EM: Generally, I can just say that I know a lot of young people, who, to me, seem like kids or very recently have been kids, who have transitioned at a point in their life where not only was I not aware of myself at all, but even if I had been, I wouldn’t have made such a brave choice. I’m so amazed by all of the young people I know: kids, teenagers, and young adults who have come out and transitioned.

CC: It is pretty remarkable and inspiring to see. 

EM: I just think it’s so beautiful. 

CC: I’d like to ask about your Brooklyn bookstore, Books Are Magic. What has it been like running the store during the lockdown?

EM: Running the bookstore during the pandemic has felt like triage—months and months of triage. The whole business changed overnight, once the booksellers were all quarantined at home in March.

I think most people think of bookselling as a vocation, and something that has to do more with the brain than with the body, but in the last three months, all the actual bodily work has fallen on my husband and our two managers, and it is an astounding amount of work. There’s a lot that can happen remotely—our events and marketing folks, for example—but the actual work of getting books into people’s hands requires bodies, whether in our store, or in warehouses, and I feel deeply aware of all the labor that all of us take for granted when we order something on the internet. I will never, ever take it for granted again. Obviously ordering from Amazon is against my religion, but what this period has cemented for me is how important it is to support your local businesses, and to support them with patience and humanity. We are all trying our best to keep our businesses afloat and to make sure our employees have jobs, and to make sure our customers get what they want. But man oh man, we are tired. 

CC: I can imagine. Thank you and your team for all that you do. During these strange times, you’ve also had to change the way you hold literary events at the bookstore. How has it been going from in-person to virtual?

EM: My events team has been heroic. They totally changed course overnight and entered the wild word of Zoom. In some ways, I think it’s been great, because obviously now anyone from anywhere can come, and we can host authors from anywhere. Those are exciting things, for sure, but I think like everyone else, there’s some Zoom fatigue. Aren’t you fatigued?

CC: My eyes have never seen so much screen time. The virtual space is a great resource, but it has changed the way we interact with the book world. Besides everything being done virtually these days, how else do you think the bookselling business has changed during COVID-19?

[That feeling] of finally walking back into your favorite bookstore, and looking at real books chosen by real people just for you? There’s no substitute for that kind of care and attention.

EM: For months, it was all shipping and processing, with almost no staff. Now it’s pick-ups and masks and hand sanitizer. It keeps changing over and over again, and we’re the lucky ones. There are two wonderful stores in NYC that have decided to close: Stories and Bank Street. Both beautiful, meaningful children’s bookstores. I know that’s true across the world, that stores are struggling. It’s so hard to run a business right now. People are scared, the world is scary. We’re trying to be as conservative as we can, and to plan ahead for the long climb back to normal, or to a vaccine, or to whatever’s on the other side of this. 

CC: On that topic of “the other side,” what do you think the future of indie bookstores will look like?

EM: Well, I think that indie bookstores are the past, present, and future, that’s for sure. I think indie bookstores are the best way to buy books and to sell books. I think everything else is a pale imitation. The internet doesn’t do it, the big chains don’t do it. Those places will sell you a book, of course, and they’ll do a fine job, but how will you feel about it? And how do you feel finally walking back into your favorite bookstore, and looking at real books chosen by real people just for you? There’s no substitute for that kind of care and attention. And so I feel fine if it’s just a few people in the store at a time for now. We’ll get back to capacity eventually. People have been supporting us wonderfully throughout, and we have never worked harder—-none of us, not the events team, or the booksellers, or my husband and me. I know it’s been the same for many of my bookseller friends. But we’re getting through it. And who knows. Someday, I might even have childcare again. Then there’s no stopping us. 

What 2020 Booker Nominee Should You Read, Based on Your Quarantine Habits?

There’s no question that the pandemic has negatively affected our attention span (not that our society was doing particularly well with that in the first place). But we are dealing with huge amounts of unconscious stress, according to psychological experts, that limit our ability to process information. Although it seems like the perfect moment to get back into reading, it’s trickier than usual to focus on a novel. 

On a brighter note, there’s also no question that this year’s Booker Prize longlist is an exciting one, filled with more debuts than usual and encompassing a wide array of new voices. If you’re thinking of picking up a book for the summer, why not start with a critically acclaimed list? With the extra time on your hands—now that you’ve mastered the sourdough loaf, own multiple Animal Crossing houses, and become intimately acquainted with Zoom—read below to see what Booker longlist novel you should read, based on the quarantine habits and trends you’ve picked up. 

Taking your temperature 200 times a day: Love and Other Thought Experiments by Sophie Ward

Looking for another way to mess with your perceptions of the world? If your quarantine habit is to constantly check up on all COVID-19 symptoms and wear down your thermometer by testing potential fevers, you might relate to Rachel, one of the novel’s protagonists who wakes up one night, convinced that there is an ant stuck in her eye. Rachel and Eliza are deeply in love, considering parenthood—but when Eliza, a scientist, does not see any ant, she can’t bring herself to believe Rachel’s terror. Ward’s debut novel explores love, yes, but also probes at the concept of reality itself. Playing with perspective and philosophy in ten interconnected chapters, Love and Other Thought Experiments may prove to be an intriguing, thought-provoking distraction from self-diagnosis. 

Sleeping at bizarre times: Who They Was by Gabriel Krauze

Don’t worry: Krauze’s autofiction about a life of London crime makes any sleep schedule—say, a nap at 8pm, bedtime at 11am, or morning coffee at 1am—look extremely normal in comparison. Who They Was centers on a young man living in South Kilburn, who is involved in violent crime while simultaneously completing a university degree in English. Krauze’s first-hand account of drugs, gangs, robberies, and stabbings is sure to jolt even the sleepiest reader awake, with his striking, eloquent prose.

Such a Fun Age by Kiley Reid

Eating like a kid: Such a Fun Age by Kiley Reid

Has quarantine thrown “adult” eating habits out the window? We’re talking about the dream menu of your eight-year-old self here: ice cream for breakfast, popcorn for dinner, fries at 2am. Lean further into the world of kids—and childcare—with Reid’s debut novel about a babysitter. When a grocery store security guard accuses Emira, a young Black woman, of having kidnapped the white girl she is babysitting, the conflict sets off a whole series of complications for Emira and her white, wealthy employers. Reid’s acclaimed, page-turning debut explores the intersections of class privilege, race, and transactional relationships; it’s also a page-turning read that pairs excellently with popcorn. 

Buying new work-from-home clothes that are just pajamas: The Mirror & the Light by Hilary Mantel

Thank goodness that we don’t need to wear doublets or corsets when hopping on Zoom calls! If you crave the decadence, familiarity, and little kick of adrenaline that comes with putting on a new silk pajama set, you might be interested in The Mirror & the Light, the final in Mantel’s well-acclaimed trilogy. No one does historical fiction of Tudor England like Mantel, as we’ve seen with her previous books in the series, Wolf Hall and Bring Up the Bodies. You can savor national drama of the 1500s and witness Thomas Cromwell’s rise to power, while lounging luxuriously in your new pajamas. Soundtrack to the musical Six is optional. 

Redhead by the Side of the Road by Anne Tyler

Fostering or adopting a pet: Redhead by the Side of the Road by Anne Tyler

Adoption and fostering rates have skyrocketed during the pandemic, to no one’s surprise—stuck at home all day, many of us seek a furry friend that helps disrupt the monotony of quarantine. If you’re interested in a protagonist who is also learning about the limits of routine, try reading about Micah Mortimer, a man who has spent years constructing an idiosyncratic yet orderly routine. But when a strange teenager claims to be his son and his “lady friend” is evicted because of her cat, Micah’s life is turned topsy-turvy. Beloved author Tyler’s new novel is a humorous, compassionate look at how we connect to others–perhaps an ideal novel to curl up with alongside your new pet. (Side moral of the story: foster/adopt with caution!) 

How Much of These Hills Is Gold

Binge-watching Tiger King: How Much of These Hills is Gold by C Pam Zhang

Everyone seemed to be binge-watching Tiger King in April, the show about big cat conservationists and even bigger, nefarious human drama. If you’re looking for a new kind of big cat adventure and thrilling narrative that is larger than life, Zhang’s debut novel may be the one for you. Two Chinese American siblings struggle their way across Zhang’s re-imagined Western frontier during the Gold Rush, looking for a place to properly bury their recently-deceased father. Through the siblings’ quest for a home amongst a landscape ravaged by settlers and abound with symbolic tigers, Zhang fuses myth and fiction to ask searing questions about the American Dream. 

Real Life

Baking sourdough: Real Life by Brandon Taylor

Have you been testing batches non-stop and tinkering with flour/water ratios, in order to get that perfectly risen loaf? Baking sourdough bread is not quite a full-blown science experiment (although I don’t dare say this to my roommate, who approaches her sourdough with reverent precision), but perhaps it’s gotten you in the mindset to read about a biochemistry graduate student. Real Life’s protagonist, Wallace, researches microscopic worms at a Midwestern university. His current situation is a far cry away from his traumatic childhood in Alabama, but one weekend, Wallace is forced to reckon with his past and how it shapes his future. Taylor’s debut is a campus novel about scientific research, yes, but more specifically about being Black and queer in academia, and how we deal with past trauma. 

Drinking dalgona coffee: Burnt Sugar by Avni Doshi

Much like sourdough, it seemed as if everyone was making and drinking dalgona coffee—the hand-whipped instant coffee originating from a South Korean street sweet, dalgona, which is literally burnt sugar—during early quarantine. Although this labor-intensive coffee has given way to cold brew, why not read Doshi’s debut novel as an alternative form of burnt sugar? The book centers on a fraught relationship between Tara, a previously bohemian mother who never cared much for her child, and her grown-up daughter, Antara. As Tara’s memory and mental abilities decline, Antara is now faced with the task of caring for her mother. Doshi’s lashing, acerbic prose is as equally full of hand-whipped tension as dalgona coffee; through the tense narrative, she excavates devastating observations about scorched family ties. 

Apeirogon: A Novel by Colum McCann

Doing puzzles: Apeirogon by Colum McCann

Have you designated an area in the center of your living room as the “puzzle space,” and do you spend most evenings wondering what sky-blue piece might join to another slightly-less-blue piece? If you enjoy an infinite number of pieces fitting together in a kaleidoscopic whirl to form a bigger picture, you might enjoy Apeirogon, named after a polygon with an infinite number of edges. examines the lives of two men, Rami and Bassam. Although one is Israeli and one is Palestinian, they become friends when they realize that they have both lost their daughters. McCann’s take on Israeli-Palestinian relations ties together many elements, crossing eras and borders to craft a multigenerational, epic whole. 

Cutting or dyeing your own hair: The New Wilderness by Diane Cook

Cutting your own hair is definitely venturing out into a new terrain of wilderness. Who knows where you can go next? Bleaching? Buzzcut? For the truly bold: bangs? Your hair is your oyster. If you’re looking for a daring novel filled with action, try Cook’s new novel. The New Wilderness presents a more sobering terrain, but one that is quickly becoming our reality: a world devastated by climate change; within this world, a mother tries to save her daughter. Cook’s novel highlights the urgency of respecting nature and the necessity of coming to terms with what we can’t fix—a message that will resonate with people who are buckling down and doing their own barbering instead of protesting closures. Like a home stylist right after the clippers slip, we’re already too late to reverse the damage, but now is the moment when we could stop it from getting worse. 

Working in bed: This Mournable Body by Tsitsi Dangarembga 

Working in bed could emblematize our era of late capitalism, quarantine edition, where we are constantly working in any environment, striving to find ways to be ever more productive in both our professional and personal lives. If you’re feeling burnt out, This Mournable Body might help you gain perspective. Dangarembga revisits her protagonist from her debut novel, Nervous Conditions. Tambudzai, or Tambu, is now a middle-aged woman, living in a run-down women’s hostel. Tambu has left a job as a copywriter, and is dealing with both the pressure of imminent poverty and the claustrophobia of Harare society. While Tambu is faced with humiliation after humiliation, she tries her best to hold onto her identity and her dignity.

Getting into Twitter fights: The Shadow King by Maaza Mengiste 

Bored and craving conflict? Or genuinely enraged about the potential fascism of… well, let’s say contemporary affairs? Looking for ways to rise up against the many industrial complexes that dictate our society (looking at you, prisons and police departments)? Try reading The Shadow King, if you’re looking for a fight worth fighting for. Mengisteexplores female power and highlights a part of WWII history that has been looked over, focusing on Ethiopian female soldiers that rise up against Mussolini’s Italy. Set in Ethiopia in 1935, The Shadow King follows Hirut, who starts out as a maid but winds up organizing female troops for Ethiopia. 

Taking out home loans in Animal Crossing: Shuggie Bain by Douglas Stuart

If you enjoy witnessing daily life progress in a virtual village, try Stuart’s searing, hyper-realistic, and visceral description of a mining town in 1981. Set in an economically destitute Glasgow, Stuart’s debut novel centers on a family struggling with alcoholism and poverty. Shuggie Bain, a lonely but sweet boy, is the only child that will not abandon his alcoholic mother, Agnes. Shuggie Bain is a heartbreaking look at the tenuousness of familial love, no matter how damaged, and the consequences of addiction. Endless grinding to catch fish to pay off your three-million-bell home debt will look positively idyllic by comparison.

The Brutal Secret I Share with My Neighbor

“The Neighbors”
by Shruti Swamy

At that time my daughter was eight, and my son had just been born. I sat on the front lawn with him and stopped him from putting fists of grass into his mouth. It was late July, and hot, a rich, thick heat that reminded me of the descent into summers of my childhood in India. My son gazed up at the trees in wonder. Still small enough to look slightly absurd, almost like a fish with the gaping mouth and eyes, but then he would move his head a little bit, wave his arms, and he would look suddenly, startlingly human.

My daughter came running down the street with no shoes on. Only this morning I had combed her hair, but you wouldn’t know it to look at her.

“Mom, someone’s moving in to Mrs. Hildebrandt’s house.”

There was a moving truck pulled up in the driveway of the empty house at the end of the street. We could see them through the trees. A girl—then two—emerged from the passenger’s side of the cab, from the driver’s a tall man, then a short-haired woman.

“Where are your shoes?” I said. I watched the family as they opened the door to their new house. In fact I had been keeping an eye on the place since it became vacant. It had a similar floor plan to ours, all the houses on the street were Eichlers, but better sun in the yard, and the last owner, an elderly woman who had died some months ago, planted roses that bloomed even in her absence, and not one but two fruit trees, lemon and orange. The girls ran in first. The woman stood a few paces away from the door, and the man behind her. She turned to the man to say something to him. She was much smaller than him, and had to lean up to do it. The man put his hand on her head, right at the nape of her neck. She looked so vulnerable there, at the back of the head, with her hair so short, short like a baby’s, so close to the soft skull. His hand there was familiar to me, the gesture full of the brutal tenderness of husbands. I couldn’t see her face to tell if she was happy or sad.

That evening I lay my son down in his crib and went to the bathroom to comb my hair. Almost as soon as I put him down he began to cry, and the door didn’t blunt the noise. I wanted to comb my hair. When I was younger, my hair was thick and rich and scented, after washing I used to spread it on a wicker basket under which burned a lump of frangipani. Once as a girl, finishing the thread I was using to sew a dress for my home crafts class, I had plucked a strand of my own hair and threaded the needle with it. It was long enough and it held.

Of course I lost quite a bit of my hair after my two pregnancies, which my gynecologist told me is common. For a while I thought my hair would grow back, but it never did. Then I began to comb it less frequently, sometimes I forgot for days. I had remembered today because of the woman and her short hair, which had shocked me. But she had seemed beautiful, even from such a distance. I could hear the mewling cries of my son, rising in pitch and frequency. The reflection in the mirror surprised me. Who was that woman? I thought of myself as young, a girl, and hardly ever looked at myself anymore. Then I began to comb my hair, tugging hard at the snarls, so hard that my scalp bled. When I was finished it lay flat and shining against my skull.

It was three days later when I opened the door to the neighbor woman. She had baked a batch of pale cookies and seemed to be visiting the entire neighborhood with them. Up close she was older than I expected, older than me, her face all angles, as well as her body, which was so slender it was boney. She wore a pale blue dress that left her legs and freckled arms bare. Under the right eye the skin was slightly darkened, the ghost of a bruise. Her two girls stood behind her. The elder was surely my daughter’s age, the younger, no more than three, plump, with bright gold hair, like a little doll.

“God it’s hot as anything out here,” the woman said, handing me the cookies. A bit of hair stuck to her damp forehead. “I didn’t feel like baking, but when you move you should always bake something for the neighbors, I think. Anyway, I hope you’re not allergic to anything or vegan, they’re lemon cookies—lemons from the tree—” she pointed to her yard, “I didn’t want them to go to waste. I’m making marmalade with the rest of them—the oranges are too sour to eat. I don’t know anything about orange trees.”

The sound of the sprinkler, two houses down, hissed up between us. The woman smelled of flowers, yellow flowers I imagined. Other neighbors had made similar overtures over the years. But after a little while, they left me alone. “I don’t know anything either about orange trees,” I said.

“I’m sorry, I didn’t even say my name,” she said. She was older than me, but her face looked young, and flushed slightly like a girl’s. “I’m Luisa. And this is Camille and Geenie. My husband, Richard, is at work. We moved in to the house down the street. They’re shy, the girls are. Say hi, girls.”

“Hi,” they said. The elder’s voice sounded bored, the younger’s was a whisper.

“Would you like to come in?” I said. “My husband is also at work.”

Luisa looked down at her two girls, then looked back at me. A strand of gold, terminating in a tiny star, hung from each ear. “That would be wonderful.”

I led them inside—seeing the shoes at the door, they took theirs off on instinct—and sat them down in the living room, where the baby, in his swing, had began to bunch up his face, but he relaxed when he saw me, held out his arms. I carried him so much in those days that my body had gotten used to the extra weight. When I put him down, there was a feeling that came over me, almost like vertigo, a mixture of dizziness and exhilaration, of terrible, terrific lightness. It wasn’t like this with my daughter, who was always independent and self-contained as a cat, and who had learned to read when she was five, which was when I lost her to her mind’s vast interior. She was her father’s child.

“A baby!” said Luisa, “He’s beautiful. How old is he?”

“Four months,” I said. He smelled of milk, my baby, and he grasped my shirt in his hands and wiped his nose against my shoulder. “His name is Manoj. I’ll get my daughter, I think she’s your age, Geenie.”

Then I went to the bottom of the stairs and called her, sweetly and urgently, so they would think I was a good mother. “Manisha!”

She took a while to appear. Backlit by the window at the top of the stairs, there was a crown of hair frizzed around her head, and I couldn’t see her eyes. The soles of her feet were also out of my vision, but their state I could guess; black from her barefoot summer, black and leathery, like the child of a beggar. “What.”

I spoke to her in Hindi. “The neighbors are downstairs. The new neighbors. Will you come down?”

Her body held the heaviness of a sleepwalker, but she came, and followed me back into the living room. Luisa sat on the sofa with a girl on either side of her, and they were talking in low voices. I could hear the unmistakable sound of whining, and the equally unmistakable sound of stern hushing. “Manisha?” said Luisa, she said it like an Indian, with a soft uh sound instead of a hard a Americans put in the first syllable. Manisha, my daughter came home crying with anger her first day at school from the cruel mispronunciation. “This is Geenie, and Camille, and I’m Luisa. Geenie’s going to be starting fifth grade in the fall.”

“Manisha too,” I said. Geenie was a year older, then: Manisha had skipped a grade. She had been a misfit before the change, and she was a misfit now, because of her age, and, I suspected, her solitariness, which came off as cool pride. “Manisha, do you want to show Geenie your room?” Manisha looked at me, not a little warily. The mention of school had shaken her out of something, the thick dreaminess I had seen on her at breakfast. “You can show her all your books,” I said.

“Okay,” she said. I could see her eying Geenie, her pretty clothes, the little ribboned clips in her hair. Their feet were quiet on the stairs, carpeted to cushion a child’s fall, dark to hide stains. I shifted the baby in my arms. He was sucking his heel, then his fist.

“Can I hold the baby?” Camille whispered to her mother.

“Babies aren’t dolls, Cami, they’re not toys.”

“I know,” she said. Her eyes were caught on my son’s. Hers were pale blue, like her mother’s dress. “Can I?”

It was all addressed to her mother, but I said, “Go wash your hands, the bathroom is just right over there. Then you can hold him.” We watched her pad out of the room.

“You have a beautiful house,” said Luisa. The sink turned on. Camille was on her tiptoes, we could see her through the open door.

“Same as yours,” I said.

“No, I mean, the way you’ve arranged it. The furniture is so beautiful. It’s very bright and friendly. You have a good eye for things—you and your husband, I should say.” Of course, it had all been me, and I smiled with pleasure. It wasn’t often I had guests, though I did my best to keep the house clean. “Come, let’s have some of these cookies.”

“No, no. I’ve had enough already,” she said. “You have them later.”

“Where did you move from?”

“Colorado—Denver. Richard had a job there.”

“What does he do?”

“He’s in sales. And I’m an artist.”

“An artist?”

“Yes. I paint. Mostly watercolor.”

“What do you paint?”

“Oh, lots of things, really. I paint those two a lot, if they sit still. We lived in Arizona before Denver, and I liked living in the desert. I liked painting how dry and red everything was out there, especially in the evenings. Richard calls it my Georgia O’Keeffe period, of course.”

“How do you have the time for it?”

“It’s just a matter of practice.” She had slipped her legs beside her on the couch. There was something avian about her, the elegance and ease of her pose. Yet I felt something unsettled in her too.

“But the space I mean.”

“The space?” she said. “Usually we make some space in the garage.”

“Not that kind of space,” I said,  but I  didn’t  know how to say what I meant, and let it drop. A small silence followed.

“And you, what do you do?”

“When I was young I wanted to be a pilot,”  I said. The sink switched off. Camille’s little hands were red. “Come here,” I said. She sat next to me on the love seat.

She smelled of my soap—sandalwood— and kid’s sweat, and thinly, the floral scent of her mother. Sitting with her back against the back of the love seat, her feet just reached the end of the cushion. “If he cries you mustn’t be upset, okay? He’s shy, just like you.”

I eased Manoj into her arms. “Keep the head up, like this.”

I could see the storm gathering in his face. I held his hand, and sang to him the Indian anthem, which always soothed him. He began to laugh.


Late at night, I was awoken by the sound of glass breaking, or glass broke in my dream, and I awoke. I was flung awake. My husband lay on his back, sleeping, and the baby was asleep too, in his crib, which we kept in our room. Father and son slept dead like each other, bodies gone thick and heavy and soft, slept without moving, barely breathing until they woke. My son’s sleep was particularly disconcerting, because he slept with his eyes half open, and during the weeks after he was born I had often held a mirror under his nose, to see if it fogged up with his breath. I went to my daughter’s room, and stood in the doorway, casting my shadow over the floor. The room had filled up with her breathing, warm and not wholly pleasant. She curled on her bed with all the blankets flung off dramatically. Her window looked onto the street, from the vantage of the second story. I stood there in my nightgown. The lawn below me was nearly blue in moonlight and streetlight. There was someone in the street. I saw him, his shoulders, his hot blonde hair, then lifted my gaze, to where all the lights were on in the house down the street. I must have stood there for a long time. I felt my own mind, tingling like a limb come awake. The street was empty, then the light went off in the house, still I stood, remembering a night long ago, when I stood at a window in another country. It wasn’t nostalgia. My life was crowded then with family, and I worked hard. Yet this space was there. I thought about it for a long time. I couldn’t say whether I was happy, or sad, or sorry for myself.

Then my daughter cried out in her sleep, and just like that, the space closed. My mind and body turned to her. She blinked up at me, like she had as a baby, with her black eyes. “Mom?”

 Was she awake or dreaming? I felt irritation and tenderness in equal parts. “Go back to sleep,” I said.

“I was being eaten, someone was eating me,” she said.

“Just a dream,” I said. She was scared, shaking and I held her, she allowed me.

“You don’t want me anymore,” she said.

“What?”

“You don’t want me anymore.”

“You’re dreaming,” I said. “You’ll feel embarrassed about this in the morning.”


Every morning, I combed my daughter’s hair before I fed both the children breakfast. It was a challenge, because the baby was always clingy right after he woke up and my daughter had trouble sitting still for more than a few minutes at a time. If I put the baby down, he would begin to cry, and Manisha would use the distraction to run off. Then I would have to start the whole process over.

“You said Manisha means mind. You said that the mind is the most important. That’s what you said.”

“Mind is important, hair is important. Already you run around the neighborhood like a wild thing.”

“So my hair is as important as my mind?”

“No.” I had put the baby in a sling against my chest, so my hands were free. The sling reminded me of the peasant women in the fields, who worked for hours with their babies tied to their bodies in old saris. But mine I bought at Target. “It is important to look nice for people.”

“Why?”

“I don’t know why. I don’t know why you are so difficult, why you don’t just listen to me.”

“Because you don’t make sense!”

July mornings were cool and felt strange on the skin after waking; afterward the days became brutally hot. The baby was still small enough to bathe in the sink, and I bathed him often and massaged his body with oil. Manisha came in only when she got hungry, and I cleaned the house and made sure the dishes were out of the dishwasher, made lists of things I needed to get from the store, paid all the bills and called the health insurance company about a birth-related expense they had not yet reimbursed. I was in the process of applying for citizenship, which also produced a large amount of paperwork. I fed the baby, changed the baby, put the baby to sleep and picked him back up when he woke, sang to the baby, talked to the baby, read to him. Manisha came in and reported that Luisa was letting her kids run through the sprinklers. “Geenie has a bikini!”

“You don’t want a bikini.” 

“Yes, I do.”

I sighed. “Wasn’t it you who was only caring about the mind this morning?”

She shrugged.

“Do you want to go and run out in the sprinklers with them?”

“I don’t know.”

“We could put the sprinklers on here.”

“Then we’ll be copying them.”

“Fine.”

Luisa was stretched out on a plastic lawn chair in shorts and a tank top and a hat that covered her face. She was reading a gigantic magazine. She waved when she saw us approaching.

“Glad you’re back, Manisha. Brought your suit?”

Manisha pulled up her T-shirt, showing the swimsuit underneath.

“Go on then.”

Manisha hesitated. Geenie and Camille had not taken any notice of her. They looked half-wild on the lawn. They would grow up to be beautiful, like their mother, with their small faces, Geenie’s heart-shaped, and Camille’s oval, their wide eyes and little noses and soft, elegant mouths. Their beauty was startling because they were so unaware of it; it was strange to see them act with such abandon, like children, with those faces. Like two princesses from a storybook I read Manisha, one dark, one fair, the water glittering on their skin. As the sprinkler changed direction, it fanned into a rainbow. Manisha took off her shirt and shorts and stood barefoot in her yellow bathing suit. Her belly puffed out, and the way she stood with her feet turned outward made her look like a duck.

“Girls, Manisha’s here,” said Luisa. The girls looked up from their play. Camille’s knees were stained with mud. Her little pink tongue came out of her mouth and licked her cheek. “We’re playing cats.”

“No we’re not,” said Geenie. She was, as reported, wearing a ruffled pink two-piece, the top of which lay flat against her chest. She cast a scornful look at her sister. “Cats hate water.”

“Not all do,” said Camille.

“Yeah, all do. They’re from the desert.”

“I like cats,” I heard Manisha say. She was allergic, and had an instinctual fear reaction to most animals, throwing her hands up to protect her face when they came near.

“We’re going to get one, Mom says,” offered Camille.

“We’ll see,” said Luisa.

The baby and I were both sweating, but I was glad at least that I wasn’t pregnant in this heat. “It’s hard enough being responsible for the two of you. Though at this point maybe a third life wouldn’t make any difference.” She had put down her magazine, and she took her hat off to fan herself. On the underside of her arm there was a constellation of yellow marks. “Tell me, how long have you lived in the neighborhood?”

“Well, let’s see. Manisha was four and a half when we moved. So I would say about three and a half years.”

“I hope we stay here that long.”

“How long were you in Denver?”

“Only a few months. Richard’s job. Three schools in two years.”

“That must be hard on them.”

“But you know, I moved around a lot as a kid, my dad was in the army—so I think of myself as sort of a gypsy now. Richard says I romanticize my childhood, but he wasn’t there, was he? I like change, moving around.”

The baby sneezed. It was a tiny noise, but it rocked him. He looked up at me, bewildered, and I stroked his cheek so he would feel reassured. Ever so slightly, I shifted him in my arms, so that the bruises at my throat would be visible between my dupatta and the neck of my blouse. I looked to see if Luisa noticed; if she had her face didn’t register it. “Moving around so much—it must be nice, in some ways.”

“Yes, it is.”

“To feel . . . how does it feel?”

“Just about how you’d expect, I think. Sometimes it’s hard, you get so attached to a place. There are so many places to miss. And you just have to pack everything up, your clothes and pots and things, you start to hate your stuff. You want to throw it all away and start over on the other end.”

I remembered how I felt when I was young, slight as a plastic bag, caught on nothing, riding the wind. But I had been caught. Again, I shifted the baby in my arms, more clumsily, less carefully, to show her where, three days ago, hands had squeezed my neck as though pulping a fruit. I stood there with her in an expectant silence, feeling the start of a sweeping relief, like a person in a wreck who sees through the windshield the Jaws of Life. I had, until this moment, never said it to anyone, not even to myself. Instead I had extinguished each event at the root of the candle, before it had time in my mind to burn. Then I looked at her and realized she was refusing. Not only to say it, but to see, just to see it, to see me. Her eyes were hard and faraway, the eyes of a stranger—which, of course, she was. With haste I covered the spots on my neck and looked away.

There was a cry from the girls, and I turned around to see Manisha tripped or fallen in the grass. She was wet now, and lay for a minute stunned on the ground, facedown. Geenie and Camille stood still, grazed every now and then by the edge of the sprinkler, Geenie’s face proud, Camille’s full of the innocence I hoped she would always have, would never leave her.

“She tripped,” said Geenie.

“Are you okay, Manisha?” said Luisa. She rose from her lawn chair but didn’t approach my daughter. Manisha lifted her wet face. There was grass stuck in her hair. For a moment I could not bear to look at her face, full of humiliated anger. She looked too much like me.

“Manisha?” I said.

She would not cry. She came to her hands and knees, then picked herself up gingerly, and, as though her legs were untrustworthy, treaded carefully over the wet lawn. When she had reached the sidewalk, she began to run.

“Manisha!” I called. She didn’t turn around. I watched the black soles of my daughter’s feet slapping the pavement.

9 Books Where Women of Color Tell Their Own Stories About Mental Health

I often describe my debut collection, This Is One Way to Dance, as essays about race, place, and belonging written across twenty years. But they are also meditations on friendship, time, and love; on how to keep moving in the face of trauma and loss. My book is about making one’s way in the world, finding and claiming home. This Is One Way to Dance includes travel narratives, linear narratives, and several lyric essays. At some point I learned the name for a form I had begun writing: the lyric essay—a hybrid form between the essay and the lyric poem, in which utterances, circling, unparaphrasable plot is the norm.

Although I shaped and revised essays to make a memoiristic arc, when I reread This Is One Way to Dance, the gaps and silences in the narrative surprised me. In an essay I wrote about my relationship to food and cooking, I mentioned that I spent much of one year on my couch, depressed, watching reruns of Friends. But I didn’t mention the story behind the story: that I had been diagnosed with a major mood disorder and had a terrible time finding a medication that allowed me to speak, that didn’t have the side effect of aphasia, my sentences trailing off; that I had lost my confidence after repeated harassment by a professor in my program; and that I had struggled to make sense of myself as a writer of color in a creative writing program with a racist and silent workshop model, standard at the time.

Last year, in an essay not in my book, I wrote about neurodiversity and manic depression. I could only write that essay after other essays that were, in so many ways, about what could not be said at various points in my life. During those years, I looked to writers and books who showed me a way forward: women of color who had reference points other than Western medicine or binary models of illness and health. Books helped me feel less alone. They helped me find words to talk back. 

Sister Outsider by Audre Lorde

Sister Outsider by Audre Lorde

Sister Outsider has been a touchstone for me ever since reading Audre Lorde’s essay, “The Transformation of Silence into Language & Action,” in college. In an interview with Adrienne Rich, Lorde said, “One thread in my life is the battle to preserve my perceptions–pleasant or unpleasant, painful or whatever…I kept myself through feeling. I lived through it.” This belief in Lorde’s value of her experience as a Black lesbian showed me that you can choose to value your perception in a world that would rather gaslight you. Rereading “The Transformation of Silence” helped me survive racism and sexism in academia, health care, and the workplace–and to fight for my mental health and to write about it. The titles of Lorde’s essays are keys and seem especially prescient right now: “The Master’s Tools Will Never Dismantle the Master’s House.” Lorde reminds us, “In a world of possibility for us all, our personal visions help lay the groundwork for political action.” 

Talking Back: Thinking Feminist, Thinking Black by bell hooks

In these essays, hooks writes of the difficulty of claiming a voice, the anguish of speech, the use of a family name as a pseudonym. I bought this book in the ’90s when I was in graduate school and continued to refer to it over the years. Hooks described a “fear of madness” and how she was sure madness was the “destiny of daring women born to intense speech.” Like many women, she was taught to talk in a way that was also a kind of silencing. In Talking Back, hooks connects the defiant speech that could be seen as madness to the same impulse that allowed her to claim herself an independent thinker and writer.

Olive Witch: A Cross-Cultural Memoir by Abeer Y. Hoque

In this lyrical memoir, Abeer Y. Hoque writes about her childhood in Nigeria, her Bangladeshi heritage and family, and coming of age in the United States. Weather conditions and poems frame each chapter. We travel through Hoque’s childhood in Nigeria and her later life in the United States through institutions and cultures: high school, universities, academia, a psychiatric ward, to Dhaka, Bangladesh with extended family. The entire meta-framing of the memoir resists a Western binary of illness and health. Our whole concepts of health and illness are cultural, which is made clear by this memoir that spans continents and cultures. During her stay at a hospital for atypical depression, Hoque points out that “silence is a terrible spokesperson.”

Since my mother grew up in Kenya, I especially appreciated reading about Hoque’s third culture and the specificities of being a child in Nssuka, and her relationship to Bangladeshi culture and to various parts of the U.S. 

Citizen: An American Lyric by Claudia Rankine

I heard Claudia Rankine read from Citizen: An American Lyric in 2016 on the last day of November. I saw a book-length lyric essay make something visible that was all too visible to some of us in the U.S. and completely invisible to others. Rankine’s use of white space, images, and words link microaggressions to macro aggressions, explore issues from the exhaustion of anti-Black racism on elite college campuses, to Serena Williams, to a list of Black men killed just for existing. For a time, I used an excerpt from Citizen as an epigraph to my book:

“You take in things you don’t want all the time. The second you hear or hear or see some ordinary moment, all its intended targets, all the meanings behind the retreating seconds, as far as you are able to see, come into focus. Hold up, did you just hear, did you just say, did you just see, did you just do that?”

And I felt as though I was not crazy—to see the range and kinds of ways these words injure, it made me feel sane. It wasn’t just me. Of course, it wasn’t just me. It’s a system. It helped to see this Black essayist write as resistance to a world that harms. Rankine’s artistry is a call to fight back.

Care Work - Dreaming Disability Justice

Care Work: Dreaming Disability Justice by Leah Lakshmi Piepzna-Samarasinha

Care Work: Dreaming Disability Justice opened my mind from the preface, where Leah Lakshmi Piepzna-Samarasinha, a queer, disabled, femme writer, organizer, performance artist of Burgher/Tamil Sri Lankan and Irish/Roma ascent, writes about the long tradition of writing from bed.

Disability justice allowed me to understand that me writing from my sickbed wasn’t me being weak or uncool or not a real writer but a time-honored crip creative practice. And that understanding allowed me to write from a disabled space, for and about sick and disabled people, including myself, without feeling like I was writing about boring, private things that no one would understand.

And suddenly, I saw a framework for the way that I, too, had worked. Piepzna-Samarasinha writes about the history of the term “disability justice” and its connection to disabled Black and Brown queer liberation. Reading Care Work helped me write into the silences in my essays and helped me to write about and claim my neurodiversity and invisible disabilities. From Care Work: “We know we are powerful not despite the complexities of our bodies, but because of them.”

Dear Friend, from My Life I Write to You in Your Life by Yiyun Li

Dear Friend, from My Life I Write to You in Your Life by Yiyun Li

The dedication page of Dear Friend reads, “This book is part of a conversation with Brigid Hughes.” So many books and works of art come out of conversations and collaborations with long-time friends, many of them other writers. This book is an exploration of living with depression and suicidal thoughts, recoiling from the autobiographical I (Li is a primarily a fiction writer), but using it nonetheless to tell a story. To write, “What kind of life permits a person the right to become his own subject?” I appreciated Li’s definition of memory, of memoir: “Memory is a collection of moments rearranged–recollected–to create a narrative. Moments, defined by a tangible space, are like sculptures and paintings.”

Image result for collected schizophrenias by esmé weijun wang

The Collected Schizophrenias: Essays by Esmé Weijun Wang

In this sharp collection, Wang shows us what it is like to be the crazy subject, but even then, the tone is cool, collected, smart, considered. A few essays stand out: In one of my favorites, “Yale Will Not Save You,” Wang writes, “‘I went to Yale’ is shorthand for I have schizoaffective disorder, but I’m not worthless.’” In “High Functioning,” Wang notes, “There are shifts according to any bit of information I dole out. Some are slight. Some tilt the ground we stand on.” She considers the ways those who have mood disorders or other disabilities perform our worth, our competence, our value in our capitalist culture. I admire her awareness of identity as complicated, situational, multi-valenced. Her essays argue that we are each more than our histories or backgrounds or diagnoses.

Minor Feelings

Minor Feelings: An Asian American Reckoning by Cathy Park Hong.

I, like many Asian Americans, loved this book so much—was waiting for it. Hong, a gifted poet and essayist, names and defines “minor feelings: the racialized range of emotions…built from the sediments of everyday racial experience and the irritant of having one’s perception of reality constantly questioned or dismissed.” Hong draws upon Rankine’s work in Citizen and looks at what happens to Asian Americans who are often read as or considered white-adjacent, or the dreaded model minority.

One of the many things I admire is that Hong opens the book with this line: “My depression began with an imaginary tic,” and wrote, in the first essay, “United,” about looking for a Korean American therapist because “I thought I wouldn’t have to explain myself as much. She’d look at me just know.” This is the dream, I’ve seen writers exclaim on Twitter. It doesn’t quite work out that way in Minor Feelings, but I appreciated that a book that was so far-ranging as to cover Richard Pryor’s standup, the cross-genre artist Theresa Hak Kyung Cha’s memoir, Dictee, college friendships, Chinese Exclusion Acts, the 1965 Immigration Act began, simply, with Hong’s depression and the search for a good therapist. 

How We Show Up: Reclaiming Family, Friendship, and Community by Mia Birdsong

Mia Birdsong’s How We Show Up: Reclaiming Family, Friendship, and Community is a book we all need now. Written well before COVID-19, How We Show Up was released in June 2020. Birdsong, a Black activist, writer, and storyteller, captures the loneliness and isolation for so many in our fractured American culture. How We Show Up addresses the ways in which the American Dream, never an option for many, and “toxic individualism in family-unit form” is failing even those who may appear to have achieved it, as she has. “Not having deep connection is causing us mental and physical harm,” she writes.

Birdsong offers us a map to reimagine and extend kinship and belonging, looking to Black and queer communities, who have historically defined family more broadly. Drawing from research, interviews, and her own experiences as the daughter of a white American mother and a Black Jamaican father, Birdsong has written a guide for how we can live more connected lives, investing in friendships and community. Raised by a single mother, Birdsong grew up poor and working class and built the family network she needed to thrive.

I met Mia through our close friend, Cat, chosen family for us both. How We Show Up has made me feel hopeful, even during the pandemic. Birdsong reminds us: “All of us have ancestral memory of what it’s like to live connected, interdependent lives…this is a process of decolonization.” 

8 Books to Take You Back to the 1980s

Ah, the 1980s. New Wave, post-punk, huge hair, the brat pack. Dancing next to Grace Jones at AREA, eating at The Empire Diner at 4 a.m., and spying artist Keith Haring drawing on New York subway walls with chalk. The ’80s was an age of fantasy and freedom. So why are novels set in the 1980s so sad? Because beneath a veneer of hedonism and fun, the 1980s was an era of intractable social stratification, racism, and thousands of deaths from AIDS. There was little sympathy in the air—the 1980s was a materialistic, cynical, and mean decade. Television shows like Dynasty and Dallas glamorized corruption and competition. Reagan’s trickle-down economics and tax cuts for the 1% sharpened the divide between the haves and the have-nots. It is chilling and inevitable to compare the US government’s reaction to AIDS to COVID-19. Just as the Trump administration has allowed the virus to run rampant and to ravage the U.S., the Reagan administration denied AIDS as a health crisis for most of the decade.

Age of Consent by Amanda Brainerd

I was a teenager in the 80s, and in my novel, Age of Consent, I explore themes from the decade through the lens of my teenage characters. My protagonist, Justine Rubin, a Jewish scholarship student from an intellectual but impoverished family, arrives at boarding school in Connecticut. Justine befriends Eve Straus, a sheltered girl from a wealthy New York family. Both Jewish, they hail from different backgrounds, yet forge a deep friendship. Justine must navigate complex class hierarchies, and slowly learns the nuances between the wealth of the Upper East Side and Soho and how her friends Eve, India and Clay fit into this unfamiliar class and wealth puzzle. The novel is set in 1983 when the United States was in the grip of AIDS but in deep denial. 

February Grace Notes | Mac's Backs-Books on Coventry

The Prettiest Star by Carter Sickels 

Sickels’ novel is a beautiful and poignant portrait of a young man returning to die in the rural community that rejected him. It is a new kind of portrait of the AIDS crisis, told as a closely observed family drama.

Christodora by Tim Murphy

The Christadora is a famous apartment building in NYC’s East Village, and its evolution from a squat to luxury apartments has become a symbol of the neighborhood’s gentrification. This ambitious novel moves between the Tompkins Square riots of the 1980s, which were aimed at eliciting a proper governmental response to AIDS, to the glass high rises of today. Murphy paints a compelling picture of the community of activists that transformed queer life in the 1980s, and the people who stood in solidarity to show the world that AIDS was a disease that affected more than just gay men. 

Sag Harbor by Colson Whitehead

Sag Harbor by Colson Whitehead

An intimate portrait of the wealthy Black community in the Hamptons, Whitehead’s coming of age novel is set in 1985 and follows 15-year-old Benji during a summer in Sag Harbor at his moneyed parents’ house. Growing up, I was keenly aware of the racism and anti-Semitism in the Hamptons, which was the New York City version writ large, fueled by money and hidden behind private hedges. 

Swing Time by Zadie Smith

Swing Time by Zadie Smith

This is a tale of the bond between two teenage girls from the projects, and the story of how friendship can tether us to home and comfort even if we travel far away.

Tell the Wolves I'm Home

Tell the Wolves I’m Home by Carola Rifka Blunt

Another beautiful and personal story of loss. June adores her uncle Finn, a successful artist. When he dies of a mysterious disease that June’s mother cannot bear to name, June sees a strange man hanging around Finn’s funeral. A few days later, she receives her uncle’s teapot, with a note from this man, Toby, her uncle’s lover. June and Toby form an unlikely friendship, sharing stories and memories of Finn in order to heal, while June’s sister Greta is unraveling. 

Red at the Bone by Jacqueline Woodson

Red at the Bone by Jacqueline Woodson

Woodson’s glorious story of an unexpected teen pregnancy bursts with stunning prose. The story revolves around Iris, a Black teen from a prosperous family, and Aubrey, the son of a struggling single mother. When Iris gets pregnant, the story explodes, divides, and mutates. Woodson examines the choices we make and the ripples that never dissipate.

Black Swan Green by David Mitchell

Black Swan Green by David Mitchell

An exquisite coming of age novel is set in a rural British village in the 1980s. The novel is composed of thirteen chapters that stand alone as stories themselves. I loved the precocious voice of 13-year-old Jason, and how Mitchell portrays the world, once magical, sometimes macabre, through Jason’s young eyes.

Veronica by Mary Gaitskill

Veronica by Mary Gaitskill

Gaitskill is a master of the deadpan. But beneath her vicious descriptions of cruelty, debauchery, and self-harm, lies a tenderness towards her characters, which once discovered is all the more incisive. Veronica alternates between the present and the past of the 1980s, a narrative that the New York Times accurately described as a “’where are they now’ for the Nan Goldin crew.”

It’s Time to Radically Rethink Online Book Events

Before the stay-at-home orders came down in Baltimore, the last thing I did in person was participate in a panel conversation about—ironically—“art and the apocalypse.” In retrospect, we should have cancelled, but the threat in Maryland still felt surreal; those were the days when it seemed like we could beat the pandemic by washing our hands.

Internet readings have lacked some of the magic of human connection. Is there a way to recapture that magic online?

I’ve been thinking about that panel a lot lately because my first novel is coming out in August, and I’ve been trying to envision a book launch without an in-person event. I’m embarrassed to be grieving for this tiny problem, which is less than negligible compared to all we have witnessed this year. But publishing a novel has been a lifelong dream for me, and book events have been an important part of that dream—because other authors’ events have been such meaningful parts of my own inspiration. I have vivid memories of electric readings by Victor LaValle, César Aira, and Tim O’Brien. I got teary-eyed watching a hundred public school kids crowd in to see D. Watkins at the Baltimore Book Festival. After hearing Valeria Luiselli speak about The Story of my Teeth, I was so inspired I wrote an entire short story in an afternoon. When my dreams have felt far away, when my fiction has seemed meager and hopeless, I have gone to a bookstore and sat on a folding chair and been reminded that books are my spirituality—they are my connection to my own humanity, and to my understanding of grace in others. The magic of a book event is in the revelation, fresh every time, that my very favorite thing to do, a thing I do mostly alone, is also the thing that connects me most closely to other people. 

As COVID has become our new normal, book events have started up again, in virtual formats. But like every other online substitute we’ve instituted—family Zoom calls, Instagram birthday wishes—these internet readings have lacked some of the magic of human connection. Is there a way to recapture that magic online?


For the first week of isolation, it was easy to imagine a return to normalcy. I think many of us saw ourselves emerging from a fourteen-day quarantine having drunk a little too much, maybe, but also having written King Lear. Personally, I did more drinking than writing. But I still felt optimistic. 

By the third week, I had swung from denial to despair at the never-ending stream of news of illness and death, health care system failures and government malfeasance. The experience of these months reminds me of when I fall asleep on the couch watching a movie and then refuse to get up to go to bed. I know that I will feel terrible sleeping on the couch, but all I want to do is keep sleeping on the couch. My friend Nicole calls this feeling “special features,” because back in the days of DVD, she would demand her partner play the special features after the movie so that she could continue to sleep. By my fifth week of staying at home, I felt like I was living in special features.

To alleviate the loneliness, I found solace in online book events. Bookstores and literary festivals, podcasts and grassroots publicity efforts, and publishers and authors had intrepidly brought their work and energy online, gathering readers together despite the pandemic with heroic success. I went to more book events online in April than I have ever been to in a physical month; there were nights I hopped between three different conversations, from Zoom to Crowdcast to Instagram Live; it was like wandering through a literary night market, the tents all patchwork-stitched together but the doorways tacked open to warm, inviting fires inside. In those first three lonely months, wandering through this nightly market has been a comfort.

But lately, I’ve started to wonder why these events have not yet evolved. Most events are still following the old-fashioned format of the in-person bookstore event, where two authors have a conversation, maybe with a short reading, maybe with an audience Q&A. Rather than developing new ideas for book events to suit the technology we’re using, the literary community is by and large continuing to do what we’ve always done. 

The internet rarely mimics the conventions of the physical world. So why are we still limiting book events to what is possible in person? 

Don’t get me wrong—many of these events have been truly excellent. But the internet, which can be thrilling and inspiring and creative, rarely mimics the conventions of the physical world. So why are we still circumscribing book events according to the limits of what is possible in person? 

These restrictions are not ideal for digital space. In bookstores, the “in conversation” model works because it gives you the inspiration of being in the same room as the author, as well as the excitement of being part of an audience. Neither of those translates organically to Zoom or Instagram Live, where it doesn’t really feel like you’re in the same room. And while there is often a chat box, or little hearts floating up the screen when people “like” something, the sensation of being part of the crowd is abstract. Without this sense of community, some online book events have left me feeling lonelier than I was before. 

It’s time to start experimenting—and to try radically reinventing what a “book event” can be, in this radically different year. 

I’ve started bringing this up with friends, looking for new ideas and possibilities of what an online book event can be. The general answer I’ve been getting is: Nobody knows! This is a new frontier, and it’s going to take a lot of playful experimentation to figure out what works. But as reopening plans falter nationwide, and it’s clear that gathering 30 or 50 people into a bookstore isn’t going to be a responsible choice anytime soon, it’s time that we start playing around. 

I’ll go first. I’ve been throwing spitballs at the wall, and I came up with these nine ideas for ways an author could reinvent the book launch format: 

  1. MTV Cribs: The author gives a tour of their workspace, from the desk where the book was written to the research library that inspired it to the corkboard string-map of characters to the spot on the floor where the author laid prone in despair. (Update: Baltimore’s Pratt Library and The Ivy Bookshop have been hosting a similar “Writer’s CRIBS” series since April!)
  2. Bookshelf Bingo: The author hosts a Bingo game based around a tour of their bookshelf, pulling out a selection of favorite works that inspired the new book. The first audience member who also owns a copy of four of the featured books hits bingo, and wins a prize. 
  3. Pet Readings: Pets are the internet’s staple food; the author gives a reading from their book to their cat or dog (or, inspired by the Barcelona opera, their houseplants).  
  4. Two Truths and a Lie: In each round of this game, the author makes three statements about the book, only two of which are true; the audience guesses (in the chat box) which is a lie. 
  5. Short Film Festival: The author curates a YouTube playlist of videos related to the book—movie clips, interviews, classroom science films, news footage, home movies—and screens the playlist live, offering running commentary and answers to audience questions in a chat box alongside. 
  6. Wildly Unprofessional Powerpoints: Several authors host a raucous, high-energy online lecture showcase—telling stories or explaining topics of interest to their books, alongside screenshared powerpoints (perhaps in the model of the Drunk Education series in Brooklyn or Trampoline Hall in Toronto). 
  7. Live Cooking Class: The author shares a recipe (or cocktail) that has some connection with the book, then makes the dish or cocktail on a livestream platform. It might be fun if the audience has a couple of days to gather ingredients, so they can cook (or drink) along with the show.
  8. Google Documents Editing Tour: The author shares a Google Document that shows early drafts of the book, pointing out specific changes and talking about their editing process. (This is obviously for truly hard-core craft nerds only). 
  9. Virtual Book Signing: With the support of a moderator/gatekeeper, the author takes 5-minute individual video calls with people who have purchased the book. Similar to the few moments you get at the front of a real book signing line, this is a chance to ask a question, or give the author a compliment, before getting your book “signed” (the author writes a bespoke message for the reader on a piece of paper, then holds it up for a screenshot—it’s a selfie AND a signature in one!). 

If we start playing with these tools, we can make online ‘readings’ feel like their own kind of event rather than a substitute.

This list is just a first draft. Some of these ideas probably won’t work at all. Others will be more comfortable for some authors than others, and not every book will have a natural tie-in to these ideas. The point, though, is that we need to start thinking outside the “in conversation” box. Online events don’t have to feel like placeholders for the “real” thing while we wait for an increasingly far-off return to crowded rooms. The internet offers incredible varied tools for storytelling, playing, creating meaning, and connecting. If we start playing with these tools, we can make online “readings” feel like their own kind of event rather than a substitute, offering experiences that aren’t possible in physical space.

It’s important to note that all online events come with real safety concerns, which can be a serious barrier to experimentation. The flood of attacks from racists and bigots has made many bookstores and authors rightfully cautious about online events; it is especially infuriating because the attacks mainly hurt people of color, LGBTQ+ people, immigrants, and so many others who have too rarely received their deserved publishing deals and attention. I’m grateful for and impressed by the work many have done in developing effective ways to block trespassers; as we experiment with new formats, security measures are a non-negotiable prerequisite. 

I hope we can deepen and extend the literary community through online events, not just keep it afloat. The writer and critic Maris Kreizman wrote on Twitter that she hopes “any author tour, no matter how many cities are on the agenda, will also have a live digital element” because livestreams are so much more accessible. It’s not a perfect solution—for one thing, there are still far too many people without access to computers or the internet at home—but online events are a big improvement for people with disabilities and chronic illnesses, those caring for children, those in rural or poor areas without bookstores, and others with countless barriers to weeknight events. 

The more we can make online experiences exciting and engaging, the more we can cement an enduring tradition of truly accessible events.

Innovation is part of the push for universal access—the more we can make online experiences exciting and engaging, the more we can cement an enduring tradition of truly accessible events. And we can also open the door to people who might never walk into a bookstore. In 2017, the artists Yara Trevieso and Bridghid Greene performed La Medea—a musical dance performance designed to be experienced over livestream, with live audience voices in the role of Greek Chorus—on the Twitch platform. The artists found Twitch attracted entirely new audiences to their work: “[it was a] major turnout in viewers that were predominately male watching a hyperfeminist musical.” Maybe—if we get this online thing right—book events can attract new audiences, too. 


I started this essay by describing a March panel conversation about art and the apocalypse. But I didn’t tell you how that event turned out.

Nobody came! The panel went great, except for the fact that we had no audience. We talked about art, hope, feminism, and the future, in an empty auditorium. In the old days, that event would have felt like a failure. In the context of COVID, it felt strange and kind of magical, like something that would happen in a novel. It was my moment of realization: Talking about the apocalypse, to an apocalyptically empty auditorium, I was faced with the fundamental change sweeping the globe. 

In the past few months, I’ve gathered hope from the ways our art and literature is shifting to reflect and respond to these new times. I’m looking forward to seeing all the ways our literary events evolve. 

Who Do You Confess Your Sins To?

Set in a small town in an abstracted American South, Catherine Lacey’s Pew traces a week in the life of its eponymous narrator, shortly after they are discovered sleeping on a church bench by the congregation and promptly nicknamed—like a dog—after the place they were found.

Pew is difficult to classify: androgynous and ethnically ambiguous, itinerant and without memory of either past or origin. They become first an object of Christian charity, and soon, a challenge to conservative Christian values and the townspeople’s need to “know what kind of person” a person is, in order to know how to treat them. Tension rises as the book approaches a mysterious “Forgiveness Festival” and Pew hears the stories and confessions of the town’s inhabitants. Pew, whose face cannot be pictured, presents a portrait of a community faced with the impossible: a body, bare of signifiers, that is only human.

I spoke on the phone with Catherine Lacey about complicity, forgiveness, growing up in the South, and more. 


Olivia Parkes: From the moment they are discovered, Pew refuses to speak. Why and how did you make that choice? 

Catherine Lacey: I think this is the first time I wrote something where I just knew the container of the book from the very beginning. I just had this question of what would it mean if we weren’t able to determine someone’s gender, race, background, or age? What would it mean to look at a person who was like that? And I think that once I had that question, it basically required this person not to speak. Because speech carries these different indicators in it. So the whole conceit of the book sort of required the central character not speak. And I was interested in the challenge of that. 

OP: One function of that choice is that the book is made up largely of the monologues of other characters. Many of those monologues end up being confessions of one kind or another. It emerges over the course of the book that certain kinds of crimes have in fact been committed and are still being committed by the community there. How were you thinking about the ways in which the crimes of the individual and the crimes of a community intersect?

CL: It’s interesting that you frame it in terms of a crime that has been committed, and these different people having to confess to different ways in which they’ve been a party to these crimes. Because I do think that’s a part of any society. Being a part of any government, being a part of history, being a part of the community means that you are a party to all different sorts of violence and oppression that occurred long before you’ve gotten there. And so how do you reconcile that? Especially if you’re confronted with what in one way is just a sort of void. You know, this person, this character, this body in need or body in an absence of context. I guess it seems like the appropriate place to confront your position in this society, or for these characters to confront their positions in their society. 

OP: The book moves towards a mysterious Forgiveness Festival, which is framed by the townspeople as a way of trying to “actively reconcile with the past” and “unite both sides of the community.” But it emerges that that’s not really how the festival is functioning. Could you talk about your skepticism of forgiveness as it’s handled in Pew

CL: I remember having this question really early on: If all sins can be forgiven, then what is the meaning of justice? In the town that I grew up in, in Mississippi, every single person went to a church. It was not a weird question to ask somebody what church they went to. There was an assumption that you belonged to one. So from a really young age, because I believed the adults around me, and because I was a reader, I read the Bible quite intensely. And it was really hard for me to reconcile the world that I was living in with the messages as I understood them in the Bible. To me, that’s the interesting question of the South. How do you have this place that’s so built around the teachings of Jesus, ostensibly, and yet has some of the most vile human rights problems in the country? I can’t stop thinking of that question but I also can’t answer it, but fiction never answers anything directly. 

OP: Pew gets taken in by a traditional cis-gendered hetero white family, and the problems of the book begin as soon as they try to identify Pew, or in the face of Pew’s inability or unwillingness to answer the question: What are you? Why is it so dangerous to this community to leave that question unanswered? 

CL: Well I think it would be dangerous in any context. You know, the conceit of the book is one that’s basically impossible. There’s no such thing as a person who has no racial background, gender, no identifying anything. There’s always something, right? But if we could imagine what it would mean to interact with someone who we knew was a human being, but we didn’t know anything else beyond that, I’m not sure if any community would know how to deal with that in a way that would be comfortable or reasonable. I don’t think there’s anything about the South or about this abstracted community that is more poorly suited for it than anywhere else. It’s just the place I know the most intimately.

OP: One of the ways the book dramatizes Pew’s indeterminate appearance is by having them look different ways to different people. What other characters see seems like a projection of their own minds, which affects how they want to “deal” with Pew. For example: Do they see a white female child of twelve, or a black male teenager of fifteen? How were you thinking about projection or that range of identity in Pew

Being a part of the community means that you are a party to all sorts of violence and oppression that occurred long before you’ve gotten there.

CL: I’m really interested in the psychological concept of dysmorphia—both physical and mental. At different times in your life, even different moments of the day, you might see vastly different people in the mirror. It’s difficult to reconcile the difference between the self you invent and the much more mutable, unknowable self that is actually out here living your life.

With the fact that the characters all see something different in Pew, I never envisioned each character seeing what they wanted to see, just that their interpretations would conflict. In some ways, I think you can read a novel as a kind of dream in which you’re being asked to identify with every character. In this novel, however, the main character you’re being asked to identify with has nothing for you to latch onto. What does it mean to confront a void or an absence or the part of you that isn’t gender or the part of you that doesn’t have a background? Where is that in your body and in your psyche?

OP: Pew is an impossible person—a person with no background or fixed characteristics–and also an unconventional character. They don’t really want anything, and are often passive—they stay, for example, in the town, even when it becomes unpleasant for them to do so. How conscious were you of playing with literary conventions around agency, or the idea that narrative is driven by a character’s wants and the thwarting or forwarding of those desires?

CL: I’ve always had a hard time with this concept of agency. I did an MFA, but in creative nonfiction, and I would overhear conversations between fiction people about this at the bar. This whole concept that every character in a story has to have something they want, and try to go get it—I just never liked that idea as a rule. Maybe some books function that way, but not all books. It’s a very alpha male view of the world and of narrative and what narrative is supposed to do. There are so many books that have no fucking clue what the main character wants the whole time, and I’m willing to follow them. 

OP: As you said earlier, you’re from Mississippi. This is the first novel you’ve written that’s set in the South and is perhaps also the first book that is explicitly political in this way. What prompted that turn for you? 

CL: I think the fiction I’ve written in the past has been more obliquely political, but in general I’ve been much more focused on interior, psychological questions. You might say my first novel was about the psychology of depression and abandonment and the second was about the psychology of heterosexuality. The later contained more social questions, and now Pew, I guess you could say it’s about the psychology of how we judge others. 

I’ve always been very hesitant to write about Mississippi, or maybe just too hurt by that place, too exasperated, but ultimately it’s more a portrait of an idea than it is a portrait of a real place. It’s a portrait of white supremacy short-circuiting. 

OP: Despite having no memory or past to draw on, Pew seems to address the reader from a position of experience, proffering statements about life, or people and their condition. Without those conventional anchors of background, how did you understand for yourself where Pew was speaking from?

If all sins can be forgiven, then what is the meaning of justice?

CL: I’ve been feeling these two, conflicting feelings as I get older—One, I’ve started feeling more capable, more willing to dig into an idea and get to the bottom of it, and two, I suspect that this capability and this ambition or drive is probably hindering me from knowing more subtle, silent things I already know. Part of the problem is that as you learn to navigate the world, you also acquire all this other crap that inhibits you from what you know innately. Things everyone knows. Things a person knows in a way that is wordless and completely without context. So I think I wanted to have a character that was made up of just that – all the stuff that people already know. 

OP: I think that’s a great answer. It’s funny because it maps directly onto the Clarice Lispector story that prompted me to ask the question— “The Smallest Woman in the World”. 

CL: I love that story. It’s the story of hers that’s stayed with me the clearest and longest. 

OP: That makes sense. The story has a lot in common with Pew. It catalogs reactions to an explorer’s discovery of a foot-high woman from a Lilliputian tribe, which range from tenderness to unease. Like Pew, the tiny woman does not speak. There’s a line in the story after the woman experiences equal love for both the explorer and the explorer’s boots: “This love might be must be called profound love, since having no other resources, she was reduced to profundity.” That idea, of being reduced to profundity, is pretty much exactly what you said.

CL: Well I’m glad you gave me that quote because now I can just use the Clarice Lispector answer. 

OP: Reduced to profundity. Thank you Clarice! 

CL: Yeah, I think that’s the funny thing about reading. I haven’t thought about that story in several years, but I totally see how it was like a pea under the mattress. It’s a reminder that you have to be very careful about what you read, because everything goes in and you don’t necessarily get to control what comes out. In my 20s, I read a bunch of Thomas Bernhard back to back, and four years later when I was writing Nobody Is Ever Missing, all the Thomas Bernhard was being expressed—it had that same kind of ranting cadence—but I really had no clue until I had published the book and somebody asked me about him as an influence. And I had nearly forgotten that I had even read him. So, you know, everything goes in, and you don’t really get to decide what comes out. You have to be careful about what you put in. 

I Remember the Drowning Years

Landscape with Self-Actualization

after Bruegel’s Landscape with the Fall of Icarus

Let’s start with the horse: sometimes,
especially when working, I’m the horse,
as well as the ploughman whipping the horse

Too much time online and I become
the shepherd with his back turned,
arms folded into a firm no-thank-you

I really like when I’m the dog, loyal
only to my basic canine needs:
companionship, kibble, a bone

Sure, I’ve been the flock of sheep
led around to this place or that –
too much time online does that

Now, once – years ago – I became
the harbored city in the distance
and had to travel great lengths to find myself

Likewise, I have also been white mountains
to the east, cold and mysterious –
but since taking Lexapro, less so

Most days these days I’m the hatted fisherman
seated in the corner with a cup of coffee,
waiting for a bite, from a bass, or an angel

But yes, I guess, if forced to admit
(and I don’t like to talk much about this)
I do remember the drowning years

When everyone else seemed a full-sailed ship
and I was underwater with loss –
broken. From which I got up, dried off,

and lived all this life that came after

Pallbearers

The grandkids were tasked
with carrying her casket

I nodded and waved to Zoe
from the other side of the body

It was awfully heavy
the box I mean but the moment too

Teary-eyed Zoe, sixteen,
all youth and bloom

On Z’s left hand
written in pen: Hot Pockets

Cuz, I whispered over our grandmother,
why does it say Hot Pockets

To remind myself, she replied,
that I like Hot Pockets

We laughed –
We were sad, and we laughed –

The great inheritance

How to Listen to Judy Garland in 2020

Judy Garland and I spent a lot of time together last spring. For months on end she kept me company on subway rides, New York Public Library trips, and writing sprints at my desk. I was hard at work on my book, Judy at Carnegie Hall, a small tome on the 1961 concert the famed performer staged at the New York City institution. My book on the Grammy-winning double album, which captures what was then called “the greatest night in show business history,” made me intimately familiar with all 26 of the album’s tracks— from the instrumental “Overture” to Judy’s rousing rendition of “Chicago,” her fourth encore of the night. These songs became the soundtrack to my life for much of 2019 as I researched, wrote, and later proofread and copy-edited the final manuscript. 

When I needed a pick-me-up, all I needed to do was put on Judy’s first number, “When You’re Smiling (The Whole World Smiles With You)” and follow the song’s lead in grinning my troubles away. “When you’re laughing,” she sings, “the sun comes shining through. But when you’re crying you bring on the rain; so stop your sighing, be happy again.” The song is an apt opening number for an act that, despite featuring its fair share of broody ballads, depends on Garland’s unwavering optimism. Ever since, as a little girl, she’d sung about going somewhere over the rainbow where bluebirds sang, Garland has come to embody a shining beacon of sunny cheerfulness amid dreary doldrums. If Dorothy could make it all the way to colorful Oz and back home again, so could we weather whatever storms our tears bring on. 

I knew merely smiling couldn’t make all my troubles disappear. But hearing Judy’s voice could. Rufus Wainwright saw a similar kind of power in Judy’s live album. “Whenever I put on that record, that Judy Garland record, that concert,” he remembered, looking back at the months he spent listening to it on loop following 9/11, “everything brightened. And I just couldn’t help but sing along.” It’s what drove him to attempt the Herculean feat of putting on Garland’s concert in its entirety for a new generation of fans with Rufus Does Judy at Carnegie Hall back in 2006. Wainwright was right to hone in on the unbridled joy that runs through the 1961 album, which merely captured the energy of the 1961 concert itself. The cheers from the audience, for instance, give merit to Lewis Funke’s description of the concert in his New York Times review as something akin less to a live performance than to a revival meeting. 

Garland’s album scored what was, back in 2019, a transitional moment in my life as my husband and I began plotting our departure from New York City. The prospect of leaving the place I’d come to call home after more than a decade was daunting. Overwhelming, almost. It helped that I had Judy to keep me company. For many weeks my days were spent alternating between finishing a draft of the manuscript and packing up our apartment with precious little time spent wondering what was ahead. “Why should I care?” Judy sings at one point in one of the most jubilant songs on the album, “Life is one long jubilee, so long as I care for you and you care for me!” This was the Judy I keyed into last year, the one who made her acrobatic belts feel effortless and who’d turned herself into an icon of resilience. Her devil-may-care attitude was invigorating and helped make the choice to leave New York City without having settled on where we’d arrive feel less careless than it sounded. Our summer was as close to one long jubilee as we could make it as we spent time in Chicago, Austin, and Los Angeles, trying each city on for size. Judy would approve, I hope, of our current West Hollywood address, which is but a short drive away from her own Hollywood Star of Fame. 

Lately, all I hear are the darkened edges of Garland’s delivery: the melancholy that ran through her best performances.

But if sunny anthems like “When You’re Smiling” and “Who Cares?” helped me make peace with leaving New York City and saying goodbye to my friends, I’ve recently been revisiting the album through a decidedly darker lens. Last year, these life changes felt promising — necessary even. Judy’s infectious enthusiasm felt like fuel. Lately, though, all I hear are the darkened edges of Garland’s delivery: the melancholy that ran through her best performances, the sadness she conjures as she sings about heartbreak and loneliness, even the grievances she couldn’t help but make into punchlines in her banter. The sunniness is still there in numbers like “The Trolley Song,” but it’s her torch songs and sorrowful ballads which now occupy my mind. 

Titles like “Alone Together,” “How Long Has This Been Going On?” and “Just You, Just Me,” ring differently amid a pandemic that all but derailed what was to be a moment of celebration about getting Judy at Carnegie Hall out into the world. “I’m weary all the time,” Judy sings in “Stormy Weather,” before the lyric itself echoes such weariness with its repetition: “the time, so weary all the time.” But reading the words alone doesn’t do justice to Judy’s delivery. She stretches her syllables, making you feel the added effort it takes for her to go from one word to another. She doesn’t just sing about weariness, she embodies it. She had good reason to feel weary. For years on end, and after her Hollywood career came to a standstill, she’d had to book live engagements to keep debtors at bay, at times quite literally singing for her supper. There are moments in the recording when you can almost hear the audience wanting to lift Judy’s spirits; they cheer loudly after she bungles a note and clamor uncontrollably when she flubs a line. Inherent in those moments was the conviction that her moving performances were nothing more than cathartic insights into her troubled personal life. 

The sorrows Judy sang about then continue to rankle us precisely because they’re so familiar.

As I spend my days wondering how, if at all, we’ll make it past this pandemic and musing whether my own anxieties about my inability to properly launch my Judy book in a crisis that dwarfs such concerns, Judy’s lamentations feel more personal than ever. “I have a machine in my throat that gets into many people’s ears and affects them,” she recalled in 1964. “There’s something about my voice that makes them see all the sadness and humor they’ve experienced. It makes them know they aren’t too different; they aren’t apart.” That’s not quite as comforting as it sounds. The sorrows Judy sang about then continue to rankle us precisely because they’re so familiar. It’s hard not to listen to the Carnegie Hall record and remember how much Judy craved and feared being alone, apart from others. How days by herself in a hotel room was ultimately what cost her her life. It’s there in the way her voice breaks in “Somewhere Over the Rainbow” and the way the crowd loses it when she hits and elongates the final note in what has to be one of the saddest lyrics ever written—a question many of us are asking ourselves while locked in our small apartments wishing we could be merry outside: “Why, oh why can’t I?”

Chronicler of the gay community Vito Russo once described Judy Garland as “an iron butterfly.” Her strength, he posited, was always laced with fragility; one couldn’t think about Judy’s resilience without somehow also calling up the frailty it kept at bay. Writing 20 years after Garland died, Russo mused instead about what it had meant for so many gay men to have clung to such a icon. (He even wondered aloud whether her death in 1969 had somehow caused the Stonewall riots. Answer: no.) “Her audience was never sure whether she’d fall into the abyss or soar like a phoenix,” he wrote, getting at precisely why certain men felt both so protective of her while also seeing in her a towering strength they themselves looked to. Until last year, this kind of assessment had been nothing more than an intellectual exercise for me. I’ve long been fascinated with how Judy once appealed to what one reviewer in 1967 had euphemistically referred to as “those boys in the tight trousers.” Now, though, I find myself enraptured with the potency of what that iron butterfly once stood for and what she keeps teaching us boys more than fifty years after her death. In the last year, Garland has been a comforting presence even as listening to her songs on loop can feel like its own form of masochism. She’s been both my rainstorm and my rainbow.

Now, though, there’s an added layer to finding solace and (dis)comfort in Judy at Carnegie Hall. The singer’s rousing renditions of songs like “Rock-a-Bye Baby with a Dixie Melody” and “Swanee” (“Swanee, Swanee, I’m coming back to Swanee! Mammy, Mammy, I love the old folks at home!”) for instance, conjure up a nostalgia wrapped up in visions of the South that, amid Black Lives Matter protests and images of toppled Confederate statues, feel even more insidious than they did last year when my research necessarily pushed me to reckon with the minstrelsy roots of those Judy staples. As bands like Lady Antebellum (now “Lady A”) and The Dixie Chicks (now just “The Chicks”) remind us, our musical lexicon keeps traces of deep-rooted racism alive. Garland is no exception. She was, after all, always dubbed the heir apparent to Al Jolson, a famed performer known as the preeminent practitioner of blackface on Broadway in the early 20th century: “There is Judy Garland. And there was Al Jolson. And then the mold is broken!” read The Hollywood Reporter in its review of the Carnegie Hall concert: “Ask anyone who remembers the days when ‘Jolie’ took over the Winter Garden runway and they will tell you that never since has a singer of songs been able to mesmerize an audience as Judy can.” 

In singing of bluebirds, she encouraged us to look away from the colorless lives laid bare before us. What place is there, in 2020, for such a call? 

And so I’m left with an album that last year made me giddy—at the prospect of possibility in ways both creative and professional—and which has soured as I experience it in a much different world than the one I hoped to reintroduce it to when I finished writing about it this time just last year. “One wanted to hold her and protect her because she was a lost lamb in a jungle,” Russo pointed out back in 1989 about Garland, “and yet be held by her because she was a tower of strength, someone who had experienced hell but continued to sing about bluebirds and happiness.” In singing of bluebirds, though, she encouraged us to look away from the colorless lives laid bare before us, a uniquely privileged move that can feel like an embrace of willful indifference. What place is there, in 2020, for such a call? 

To listen to Judy at Carnegie Hall—whether in anticipation of a cross-country move when its rousing cheers felt emboldening, in the midst of a pandemic when those same cheers feel like taunts from ghostly crowds, or now as a relic of a sunny vision of white America—is to experience firsthand why Garland is a figure that demands you speak in oxymorons, for that is the only way you can make sense of the contradictions she embodies and inspires in equal measure. She was both bluebird and phoenix, as much a balm as an irritant. But she was also an iron butterfly that could just as easily nudge you to go on as invite you to give up. Judy and I will continue to spend a lot of time together. Just yesterday, six comp copies of my book arrived and now sit tidily next to the original vinyl my husband got me ahead of my pub date to celebrate. We’ll continue to be together, not just “come rain or come shine,” as she sings, but ideally both. How else will we conjure up that rainbow of hers?