4 Working-Class Women Fight For Success in Hyper-Competitive Seoul

In Frances Cha’s debut If I Had Your Face, four women reckon with their past and present circumstances as they make their way through the wilds of contemporary Seoul. 

If I Had Your Face by Frances Cha

The beautiful, icy Kyuri works at a room salon pouring drinks for wealthy men. Miho, an artist who won a scholarship to New York and uneasy entry into the city’s upper echelons, is dating the heir of one of the country’s major conglomerates. Ara, who can’t speak, works in a hair salon and worships a K-pop star. Wonna is pregnant and wonders how she and her husband will afford to raise a child. Sujin has plastic surgery done for the chance of getting herself on the path to a better job.

Cha, a former travel and culture editor for CNN in Seoul, offers a crisp portrait of the South Korean capital and its various obsessionsplastic surgery, class, food, and skincarethrough the alternating voices of the four women. I spoke to Cha, who lives in Brooklyn, about judging plastic surgery, K-pop fandom, and Korean fried chicken. 


JR Ramakrishnan: One of the fixations of your novel is beauty and Kyuri is the plastic surgery enthusiast. From the outside, it seems to be a very harsh obsession and one that comes with a lot of pressure and debt. Would you talk about this culture of plastic surgery? 

Frances Cha: Kyuri represents the most extreme of that kind of mentality towards plastic surgery. I think it’s really a cultural difference in the way that things are more blunt in Korean culture. Whenever the subject comes up, I do feel that there is a judgment about plastic surgery. It’s very real and I completely understand where it comes from. There is this sense that you should never have to change who you are. That to change means that you are bending to societal oppression and is considered frivolous and weak. 

However, something like braces, which is very prevalent in American society as well, has a similar effect to plastic surgery. It costs a lot of money, takes a lot of time, involves pain, and it drastically changes your face. You don’t really include that in the same category as plastic surgery and it probably is, in ways that your confidence is affected and how that, in turn, affects all parts of your life—from your love life to your job prospects.  

Plastic surgery is considered a very tactical way to make your life better. [But] I really hate the fact that it’s generalized for all of Korean society.

So yes, plastic surgery is considered a very tactical way to make your life better. I really hate the fact that it’s generalized for all of Korean society. I know Koreans who have had plastic surgery and I know those who haven’t and would never. I really don’t like the generalization that all Korean women have had it,  but I also don’t like the judgment of anyone who’s had it. 

The women in my book are not born into wealth and status. Even if they did have academic success and got a job with a really good salary, oftentimes, it’s impossible to buy an apartment because real estate prices have skyrocketed so exorbitantly. You need help in some form, whether it’s from your family, or you get a loan. But again, loans require financial standing and all of that. And so, the very practical way for Kyuri and for Sujin to make their lives better is by getting plastic surgery and having that improve their job prospects. I would hope that the reader will reserve judgment on them. I wanted to explore the deeper reasons why they make the choices they do. These are not, to me, frivolous or vain choices. 

JRR: Status is everything, it seems. We see Miho navigating the upper-class world of Ruby and Hanbin both in New York and Seoul. In Kyuri’s world—she is the top girl in her room salon and had to work her way up there. You write (from the realist Kyuri’s perspective) “It’s basic human nature, this need to look down on someone to feel better about yourself. There’s no point getting upset about it.”  

You have also an especially urban marker—the boundaries of what is the city and what is not—when you have one of the Bruce, one of Kyuri clients, make an offhand remark about a place that “barely counts as Seoul.” I also feel like the where-did-you-go-to-school question that Miho fields from Ruby’s rich friend is so loaded, but obviously everyone everywhere asks this in social contexts. Is it especially next-level in Seoul? Could you discuss this? 

FC: Yes, the part about Miho being asked about her middle school actually comes from my own experience. I attended a public middle school in a province of Korea. It’s not like it was that far outside of Seoul, probably about an hour and a half from the center of the city. Some of the responses that I would get upon being asked that! Like where? 

Korean society is so connected. You are always trying to identify what mutual person you have in common and the easiest way to do that is through finding out which school you went to. I do see, again, from how Western perspectives that this might all be very terrible, but it’s actually stemming from a place of trying to find connection and trying to understand the other person and contextualize the other person. And yes, of course, there’s some judgment embedded in that. 

New Yorkers have such disdain for New Jersey, which I find so ridiculous because it is literally 10 minutes away.

But New Yorkers also have these preconceived notions about neighborhoods. Living in the West Village versus, you know, Queens, for example. What kind of connotations does that bring, or, God forbid New Jersey, which is where I am quarantined right now. New Yorkers have such disdain for New Jersey, which I find so ridiculous because it is literally 10 minutes away. I just have a heightened observation of these dynamics because it’s just a very different cultural norm. 

JRR: Can we talk about Ara? Her story is intriguing because she can’t speak—because of a childhood incident—and she is obsessed with a K-pop idol in the novel. 

FC: My grandmother was deaf from her early 20s. Because of her disability, she very much lived in her own world. I would have all these questions to ask or want to ask her but it was impossible to infiltrate her world, which was very isolated even if she was with other family members. She was an inspiration for Ara.

Also in Korea, I go to the hair salon often because it’s so cheap. A beautiful, amazing blowout is like $10. I have this kind of therapist relationship with my stylist, who I’ve been going to for 20 years. I really believe that hairstylists function as therapists. They definitely do in the West as well but I think it’s more intensified because you don’t have therapy at your disposal in Korea. I’m so grateful to my stylist and was thinking of her a lot. 

Ara’s K-pop obsession came from when I was in a very dark place in my personal life after my father passed away. I went really off the deep end into the world of K-pop. The way that Ara is immersed in that world and in that all-consuming fandom is from my personal experience. I wanted to have her to be isolated but at the same time working (at the salon). I love Ara so much. She comes from a very personal place. 

JRR: There is a lot of abandonment (by parents, lovers, etc.) but also strong friendship in the novel. Could you meditate on that? 

FC: I wanted to explore people who are not born into wealth and who have to carve out a life for themselves and rely on each other. In Korea, friendships are so intense. People really go to bat for each other in a way that is just so moving and dramatic. 

I wanted to explore people who are not born into wealth and who have to carve out a life for themselves and rely on each other.

This fierce loyalty often lands people in trouble because of nepotism. In every industry and at every level, there are people who get into trouble because of this. In general, this actually comes from a place of really caring for friends. You feel bad for not helping people out if you have the power to do so. It’s considered a betrayal if you turn your back by not helping someone else if you can.

When I was at school, I used to volunteer at an orphanage, which inspired the one in the book. It was a very formative experience for me, this isolated orphanage in the middle of the woods and seeing the children grow up and build bonds there. In every stage of my own life, I’ve had friends who have pulled me out of dark places. I wanted to explore how even if you are abandoned by your family, it’s possible to have your own family by making one, which is what the women in the book are doing. 

JRR: It seems that in the last decade or so, there’s been this growing Korean literary mafia. I don’t know if Alexander Chee and Min Jin Lee are the capos or what, but what an incredible output recent years have brought! What do you think of this flourishing? What are your Korean American and Korean literary favs? 

FC: I don’t even know where to start with gratitude and my absolute idolization of the incredible Korean American and Korean writers out there! Janice Lee is amazing. She has also been so incredible in her mentorship and the way that she’s encouraged me in key moments in my career. 

I had the honor of being published on the same day in the U.S. as Kim Ji-young and her book, Born in 1982. It came out a few years ago in Korea, and has been a sensation. I think it is an absolutely incredible literary piece. Han Kang, who wrote The Vegetarian, has been incredibly inspirational as well. Baek Hee-na, who just won the biggest prize in children’s literature in the world, is someone I appreciate on a daily basis because I have children.

E.J. Koh’s The Magical Lives of Others is remarkable. I have been recommending it and gifting it to everyone. There’s Ed Park, who was one of my workshop professors at Columbia, just wrote for the New Yorker about the rise of anti-Asian sentiment in the States. 

JRR: Korean culture—cinema, skincare, and pop music—has been having a moment globally. What do you think is the greatest Korean contribution to global pop culture thus far? My vote is for the spa culture. I love Spa Castle in Queens. Have you been there? 

FC: I have not but I’ve actually covered spa culture a lot for CNN. I interviewed the ladies who scrub in a piece I call the Secrets of the Scrub Mistress. Not pop culture exactly but right now I would say drive-thru coronavirus testing is a life-changing and life-saving modern Korean invention. I would say Korean fried chicken too. I could subsist off that exclusively. 

“The Little Engine That Could” Is a Capitalist Nightmare

I would try in my cheeriest hushed voice to suggest other books and DVDs at the library, but what my son Theo wanted, from about ages three through five, were train stories. “Chug, chug, chug. Puff, puff, puff. Ding-dong, ding-dong,” I would soon be reading, “along came the little train.” Again. 

The Little Engine that Could by Watty Piper required my greatest test of will to endure. The book is enjoying its 90th anniversary this year, with a coup of a celebrity endorsement for its reissue: in early April, Dolly Parton chose it as the first book in “Goodnight with Dolly,” her YouTube series of reading bedtime stories during the pandemic. 

We are supposed to take great inspiration from this story, which  began as an American folk tale dating back to the early 20th century. Like John Henry, another industrial-era folk tale, The Little Engine that Could is a story of tremendous, mind-over-matter determination. She is a little engine, not built to haul freight or passengers, but she huffs and puffs “I think I can I think I can I think I can” to pull a train full of dolls and toys over the mountain. 

I am happy for the engine, the dolls and toys, and the “good little girls and boys” on the other side of the mountain, but there is a loose end in this story that reveals a cruel theme underneath it all. It begins not with the little blue engine that could, but a little red engine that couldn’t. 

She is the one who goes “Chug, chug, chug” in the book’s opening line, taking the toys to the foot of the mountain. “She puffed along happily,” Piper writes, 

Then all of a sudden she stopped with a jerk. She simply could not go another inch. She tried and she tried, but her wheels would not turn. 

What were all those good little boys and girls on the other side of the mountain going to do without the jolly toys to play with and the wholesome food to eat? 

“Here comes a shiny new engine,” said the little clown who had jumped out of the train. “Let us ask him to help us.” 

The help they seek is not for the little red engine—to see what is wrong, to repair her—but for themselves, to find a new ride over the mountain. “What are all those good little boys and girls going to do” indeed. They have no toys or food? That line always raises my hackles, because of what the story doesn’t also ask: What is the little red engine going to do? The answer is, we don’t know; as soon as she stops working, despite all she did to get everyone to the foot of the mountain, she vanishes from the story. The implication of this is, we shouldn’t care, either. Once her wheels stop, she’s not worth a second thought. 

Because these stories are about ‘the value of hard work,’ we learn about what kind of work is valued.

I have been the red engine. I have also been the blue engine, but that doesn’t help with the feeling that what we convey to our kids through anthropomorphized train stories like these is the cruel world of work. If a train is just a train, and the story is about riding it, or how it passes by—The Little Train by Lois Lenski, Train by Donald Crews, Train Coming! by Betty Ren Wright—the readers/listeners/viewers can admire its machinery, strength, and speed. But when we get to know the lives of the engines, because the stories are about “the value of hard work,” we learn about what kind of work is valued, how it is valued, and how their performance of this work—and these values—determines their fates. 

For a few examples, Choo Choo by Virginia Lee Burton is about an engine who wants to be seen as “smart,” “fast,” and “beautiful,” but when she tries to achieve this independently and neglects her duties, she becomes “a naughty runaway.” In Tootle by Gertrude Crampton, the spectacled train school teacher “always tells the new locomotives that he will not be angry if they sometimes spill the soup pulling the diner … But they will never, never be good trains unless they get 100 A+ in Staying On the Rails No Matter What.” What happens? Tootle goes off the rails. Thomas (the Tank Engine) & Friends are not friends. They are coworkers, who compete to be seen as “really useful engines” by Sir Topham Hat, fearing the scrap heap if they fail. These stories all have happy endings, of course, but they should begin with the same epigraph from Henry David Thoreau’s Walden: “We do not ride on the railroad; it rides upon us.” 

The Little Engine that Could rankles me the most because in the days of Theo’s train obsession (he is now twelve), I saw myself in the little red engine in two ways. First, I was a part-time community college teacher who, after six interviews, couldn’t manage to get a full-time job. We had moved from Iowa to Michigan for my wife to start a Ph.D. program, and upon arrival my professional wheels had apparently just stopped working. Secondly, my wife spent long days on campus teaching and taking classes, which also meant that I was the primary caretaker for our kids—our daughter Lena was born when Theo was three—and our family’s homemaker. In many ways this was the hardest and most rewarding job I’ve ever had, but it wasn’t honored as “work” in the same way. Socially speaking, making a home is being “out of the workforce.” 

Homemaking, in other words, is not the little blue engine pulling a train over a mountain, a singular act of physical strength that gets cheers from all the dolls and toys. Homemaking is the little red engine getting all the dolls, toys, and wholesome food organized, out the door, on the train, and to the foot of the mountain in the first place, a feat that takes tremendous emotional and physical resources but is not cheered, or even acknowledged, because we don’t have methods or practices of knowing it. Traditional gender roles, of course, have everything to do with this. “There are no yard measures, neatly divided into the fractions of an inch, that one can lay against the qualities of a good mother or the devotion of a daughter, or the fidelity of a sister, or the capacity of a housekeeper,” Virginia Woolf writes in A Room of One’s Own. “They remain even at this moment unclassifiable,” where traditionally male achievements are measured, known, and routinely celebrated. All I had to show for my homemaking was that everything was as it should have been: the house was standing, everyone was still alive, and dinner was almost ready. 

There is a feminist aspect of The Little Engine that Could not to be overlooked: the mentally and physically strong protagonist is a “she.” However, her heroism is honored when she proves herself to be as strong as any of the male freight and passenger engines. Male strength is what we glorify, whether a man or woman demonstrates it; likewise, whether the mom or dad performs it, homemaking and caretaking is invisible. 

If her labor is unknown, why is the little red engine even in The Little Engine that Could? Why not just begin the story with the little blue engine approaching the mountain, facing a challenge, and overcoming it? 

There are a couple possibilities. One has to do with the story’s structure. After the little red engine breaks down, the “shiny new engine” that the dolls and toys flag down tells them that he pulls passenger trains only. Then a freight train denies them help, saying, “I am a very important engine indeed”—too important for toys. Third, a rusty old engine says, “I must rest my weary wheels.” These three denials may provide a central meaning of the book. As a review of the book’s 50th anniversary reissue in The New York Times puts it, “The bigger train, the finer train, the older train—for which read ‘grown-ups’—all spurn the dolls’ pleas (too busy, too superior, too tired—how familiar the litany to a child), leaving it up to the little engine, the alter-ego children can identify with.” 

‘I think I can I think I can I think I can’ is an expression of her determination—and also desperation. She is huffing and puffing for her life.

But I’m not sure I want my own children to identify with the little blue engine. There’s another reason this first, failed engine might be in the book. The brief story of the red engine provides dramatic tension: if she couldn’t do it, it’s possible that the little blue engine can’t do it either. And what if the blue engine fails? She would not have better terms of employment than her little red counterpart. The stakes are the same. If something happens and she is unable to carry the dolls and toys any further, she’d be abandoned, too. “I think I can I think I can I think I can” is an expression of her determination—and also desperation. She is huffing and puffing for her life. 

The most bitter moment in The Little Engine that Could is when they crest the mountaintop. “Hurrah, hurrah,” cheer all the dolls and toys, “the good little boys and girls in the city will be happy because you helped us, kind, Little Blue Engine.” The rewards of her help are not only physical, but also moral: these feelings of kindness, goodness, and happiness are hers to enjoy. The red engine never got a “hurrah, hurrah” for the help she gave, and now, in retrospect, her failure becomes a moral one, too. 

After six years in Michigan, my wife neared the end of her Ph.D. program, and we came to realize we wanted to switch roles: she wanted to be the primary caretaker, at least for the foreseeable future, and I (still) wanted a full-time job. It was my turn to be a little blue engine. I sent out sixteen applications across the country, got one interview in Connecticut, and one temporary full-time job. Hurrah—but my contract was for a year (so only one “hurrah”). We decided it was not enough to relocate us all. I would go alone, and to keep applying for jobs on the tenure track. 

I had been a most-of-the-time dad and homemaker, and I would become a father who came home for one weekend a month. I also would become a husband who had left his wife with two kids to raise, a house to run, and a dissertation to write; she had to be both a red engine and a blue one. This move was the hardest thing I have ever done, professionally and personally, and the hardest thing I ever want to do. 

My two lowest moments were these. The week after I moved to Connecticut, I was driving home from work and got stuck behind a school bus. The bus’s little stop sign blinkered its lights, the doors folded open, and elementary school kids ran out to hug their parents. I missed my family so much I couldn’t bear to watch. For the next stretch of road it was the same scene again and again—oversized, bouncing backpacks, parents taking pictures of their kids—and behind them I wept over the steering wheel. 

The second lowest moment came in March. My dad, in Seattle, had a heart attack. He collapsed at the gym. There was a defibrillator on the wall, and a stranger saved his life. 

I was doing every last thing imaginable in my do-or-die, I-think-I-can-I-think-I-can job search year. 

My spring break was the following week. I had to see him, and I also wanted to see my mom and siblings, all of whom were living through the shock and would now begin the recovery. But I had planned to spend the week with my wife and kids, who were, at that point, in family therapy because of my absence; I was anxious—desperate, really—to spend time with them. My dad told me that he understood, that it was fine not to cancel or shorten my trip to Michigan. But he had died—died!—and was saved. How could I not go see him? I still feel guilty about this. In retrospect, I could have just taken time off of work and made two separate trips, but this didn’t even occur to me. I was doing every last thing imaginable, including perfect attendance as a hard-working employee in my do-or-die, I-think-I-can-I-think-I-can job search year. 

While in Connecticut I sent out 24 applications, and by the end of the year I did feel like a really useful engine. I had three job offers, two of them on the tenure-track, and hurrah, hurrah, I would pull my family over the mountain to Philadelphia. But, as the blue engine, I also felt like a bad father, husband, and son. Emotionally, psychologically, spiritually, the railroad had ridden all over me. 

I have to amend an earlier statement: the little red engine may have heard the dolls and toys cheer “hurrah, hurrah” at some point in her life. We don’t know. The sound of the cheer may have also been different, something like—in my recollection—the dryer click-clicking as it turned in the basement, little Lena kicking on a baby blanket, and Theo talking to himself as he lined up his Thomas & Friends engines on the curvy wooden track. Our cozy, two-bedroom, hardwood-floored, red-brick duplex had a working fireplace. Those long, house-bound afternoons during a midwestern winter, warmed by flickering coals, are among my favorite memories of being a young family. 

Sometimes I could even steal a moment just to watch and listen to it all, partly just amazed that no one and no thing needed my immediate attention. Perhaps there should be a prequel to The Little Engine that Could—call it The Little Engine that Finally Got to Sit Down for a Minute?—that can make this peaceful picture “achievement” enough. 

7 Books About Living Between Languages

Nothing defines the immigrant, mixed-race, or otherwise multicultural experience better than having to navigate between two or more languages. It’s not just about what languages you speak; it’s about how you speak—what accents and dialects you use, what slang words you can throw around on a night out. Language can provide crucial insight into how a community or relationship functions; at the same time, it can be the very thing that marks you as “different.” 

“Lost in translation” has long become a trope. But in our rapidly globalizing world, perhaps it’s time to turn the cliché on its head and ask: what is found in translation? How can we value translating—the state of being suspended and traveling between multiple landscapes, headspaces, and languages—as its own entity? What can we learn from the boundaries of language, and how do we blur those lines? Ultimately, the issues of translation and language point to an overarching question about the human condition: can we ever truly understand one another? Here are seven books that explore the limits of language—from playful to poignant, each has a unique take on what it means to live in (or between) multiple languages and continents.

99 Nights in Logar by Jamil Jan Kochai

99 Nights in Logar by Jamil Jan Kochai

In Kochai’s debut novel, twelve-year-old Marwand, who has grown up in the U.S., returns with his family to their hometown in Logar, Afghanistan. Kochai’s prose is scattered throughout with various dialects and languages, such as Farsi and Pashto, some of which are left untranslated. Through Marwand’s eyes—and headspace of fluctuating languages—Kochai concocts a tale that is both a youthful adventure and a heart-wrenching look at Afghanistan’s war-torn history. 

A Concise Chinese-English Dictionary for Lovers by Xiaolu Guo

A Concise Chinese-English Dictionary for Lovers by Xiaolu Guo 

Zhuang, or “Z,” is a young woman from rural China who has just moved to London for her studies. She falls rapidly into a relationship with an older British bachelor, and is thus inspired to write her own “Chinese-English Dictionary for Lovers.” Guo’s book, formatted as Z’s diary entries, begins each chapter with a new English word that Z has learned. While Z’s English grammar and vocabulary improve throughout the course of the novel, Z learns that speaking the same language as your lover does not always lead to better understanding. 

Stubborn Archivist by Yara Rodrigues Fowler

A young British Brazilian woman’s navigation of her mixed identity, Fowler’s debut novel merges poetry and prose, Portuguese and English, oral and written traditions. Fowler’s nonlinear narrative follows her narrator through her adolescence in South London, interspersed with trips back to Brazil, her mother’s homeland. The narrator—indeed a stubborn archivist—looks for, excavates, and grapples with her family heritage, while trying to gain a better understanding of her own body and dual cultures. 

Translating Mo’um by Cathy Park Hong

This debut collection of poetry is a searing reflection on language as a visceral experience, contorting both English and Korean. Hong writes, “The mute girl with the baboon’s face unlearned / her vowels and cycled across a rugged phonestic map.” The phonetic map created in this collection travels through many eras and places—ranging from an immigrant family’s home in the U.S., the Chos’on Dynasty, New York streets, and 1800s London. Throughout, Hong rejects sentimentality and explicitly calls out Oriental fetishism; she emerges with a fragmented, multilingual exploration of Korean American identity. 

The Idiot by Elif Batuman

The Idiot by Elif Batuman

No reading list about the limits of language would be complete without The Idiot. In Batuman’s bestseller, Selin, a Turkish American student at Harvard, becomes obsessed with what we can and cannot convey through language. Through a series of cryptic emails, Selin falls in love with a boy from her Russian class during her freshman year. He convinces her to teach English abroad in his home country, Hungary, for the summer. Sprinkled with eccentric Russian textbooks and semiotic lectures, Selin’s coming-of-age story inextricably connects first love with linguistics.  

How the García Girls Lost Their Accents by Julia Alvarez

Alvarez’s debut novel tells the story of the four García sisters in reverse chronology and shifting perspectives, as they immigrate from the Dominican Republic to the U.S. Their attempt to assimilate into American society is deeply connected to language; for example, Yolanda García tries to “perfect” her English as a way to form a new identity. As the sisters navigate religion, tradition, and sexuality, Alvarez raises thought-provoking points about the globalization of English, and the cultural capital that it holds.

In Other Words| Penguin Random House Higher Education

In Other Words by Jhumpa Lahiri, translated by Ann Goldstein

A series of personal essays entirely in Italian certainly wasn’t the next work expected from Jhumpa Lahiri, a prizewinning author of Anglophone novels. Lahiri traces the journey of her love affair with Italian, beginning with a pocket-sized dictionary and resulting in a cross-continental move to Rome with her entire family. She not only documents the exhausting process of learning a new language, but also reflects on the linguistic tensions of being an immigrant, growing up in a Bengali-speaking household in the U.S. “No one, anywhere, assumes that I speak the languages that are a part of me,” Lahiri writes. Finding a new voice takes on a new meaning, in her memoir that is formatted in both Italian and English.

Before and After She Fell Down the Stairs

“Moments Earlier”
by Kate Doyle

Kelly lands in a heap when she falls down the stairs—she falls half a flight at least, hits the entryway tile. 

Daniel says he can’t remember screaming. Owen tells him that he did scream, a shout that echoed in the stairwell. 

Owen, for his part, keeps his cool. He always tries to be the sort of person who can do this, remain composed, unflappable. Owen is someone who would coolly say to someone else, in the hours after she flew back from Greece, in the moments before she fell down his stairs, “Do you think posting so many photos affected your ability to actually experience Athens? Didn’t you feel not entirely present? Is it okay to ask you that?” 

“Ask me anything,” Kelly told him—affectionate but also like try me. She sipped water from a coffee mug (it was all they’d had to offer her) and leaned against the fridge, her suitcase in the corner. Daniel was looking for his wallet. Owen was picturing a photo he’d seen on the internet: Kelly at the Parthenon, arms thrown wide in sheer delight. On the fridge behind her, postcards she’d sent them were taped up next to Daniel’s teaching schedule, plus a photo from college at an off-campus bar, Ria and Kelly’s shared birthday party, the four of them all drunk and hugging.

Kelly put down the mug and started putting on her lipstick. She said, “Will Ria be extremely mad we’re late?” Owen said, “No question,” and Kelly laughed and said, “Oh well, I’ll text her.” Daniel ran his hands through his hair—he needed a haircut, Owen thought. “Did I have my wallet when we left the laundromat?” Daniel was saying, and he started lifting up the couch cushions. Owen said he can’t remember, sorry, and then he said to Kelly, “What?” “Nothing,” Kelly told him. “Just, I’m glad to be here.” Owen felt restless then; he stuffed his hands into his pockets. “Hey Daniel?” he said. “Listen, I’ll spot you, we’re really very late.” 

It was unkind, what he said about her photos—that’s what Owen remembers thinking as they went into the hall, as they went down the stairs. He regretted having said it, he felt suddenly queasy. He decided that later, he’d say he was sorry. They were on their way to meet Ria downtown. The four them would have a drink, they would trade strong opinions about where to go to dinner, this was the plan: a reunion. All week Kelly had been emailing, Can’t wait : ) and, How has it been six whole months! and, See you very very soon, etc.

Then Kelly fell. Then Daniel screamed. Now Owen is calling an ambulance, looking down at Daniel bent over her, Daniel telling her, “Don’t worry you’ll be fine.” Can she even hear him? The dispatcher says to Owen, “Sir, it’s critical she doesn’t move.” It doesn’t seem to him this needs ensuring; she’s lying very still. Daniel’s frantic, his fingers pressed to Kelly’s wrist, her neck. “Age,” says the dispatcher, and Owen says, “Um, um, twenty-two?”

The EMTs arrive, they say Owen and Daniel should come to the hospital. They say cardiac episode, though Owen thought she only lost her footing when, below him on the stairs, she dropped away. Instinctively he reached for her, succeeded in catching briefly at the shoulder of her coat. Afterward, inanely, he keeps thinking: almost. From the hospital waiting room, pressing his forehead to the glass of a window, watching car headlights swim past below, he calls Ria. She picks up, annoyed. “Are you just ignoring my texts? This is late even by your standards.” And he tells her. “Wait,” she says. “Wait please slow down.” He says, “Come here, you need to come here. We called her parents—they’re getting on a plane, somehow. I mean they’re coming.” 

Ria shows up at the waiting room thirty minutes later, still dressed for dinner—heels, blazer. “Oh no,” she says. “Look at you, both of you.” Daniel starts crying. Owen says, “Um so, they’re telling us brain damage, maybe her brain is damaged. Not from the fall, from this cardiac episode, from loss of air to, well, but they say that there’s no way to know until she wakes up.” Ria is taking off her scarf. She says, “But then falling down the stairs, what about that?” Owen says, “We don’t know. They don’t know. They’ve got her in this coma—induced, no, maintained—they’re watching her. They have her in a kind of cooling bed, and they said it’s what you do, um, when you’re worried about a brain, because scientifically, it’s that near-victims of drowning, they apparently have better outcomes when it happens in cold water.” 

Daniel takes a wavering breath. He fiddles with the zipper on his jacket. He says, “She’ll be in that for twelve hours, in this deep freeze, then they’ll bring her out of it, and then.” Owen says, “No actually, not a deep freeze. Not freezing: cooling.” Daniel says, “Oh, true, that may be the wrong term.” He scratches vaguely at his ear as Owen says, “It is, yeah, it’s wrong.” 

Ria presses both her hands together, draws them to her throat. “Okay,” she says. “Well, we can’t think about this, not until we know more. Right?” A flicker of panic moves over her face, but then she gives them each a perfunctory hug and says, “Have you eaten? I haven’t eaten.” And she goes and buys three bags of cheesy popcorn from a pair of snack machines across the room. So they end up sitting in blue vinyl chairs, quiet, chewing, their fingers accumulating pale cheese film. Ria brushes crumbs from her coat, her hands sort of shaking. She says, “I’m trying to understand, could fright in the moment of falling lead to a cardiac incident? Or would it only ever be cardiac incident first?” Owen says, “It must be genetic, her grandmother, remember that story?” Daniel has his head down on his knees, has laced his fingers over the back of his neck. Then Ria says, “Think of the odds. After all those months traveling, of all places she’s standing on your stairs.” But Daniel lifts his head and says: “I don’t think we should pursue this kind of thinking, I don’t feel that we should do that.” 

Then comes another call from Kelly’s parents, and Owen unfolds out of his chair, pacing in front of Daniel and Ria, nodding and nodding his head, feeling himself becoming glazed and disoriented. Her parents are getting on a plane from LAX to JFK. An aunt, who lives in Gramercy, is on her way to the hospital.  This aunt has Owen’s phone number, as does Kelly’s brother who will stay in California, and Owen should keep these two updated while her parents are in flight. 

“I will, I will,” he tells them, but then can’t find what to say next, so he lets Ria take the phone. Daniel pats the chair beside him; Owen sits. Ria is saying to Kelly’s father, “The three of us are here, Daniel and Owen and me, and when you get here, we will be here, I promise, and we’ll find your sister, too.” Ria hangs up; she frowns, gives a brief twist of her head like an animal shaking off water. She says in a very small voice, “Now they have to shut off their phones. Can you imagine?” 

A feeling of confinement comes over Owen then, stealthy and crushing—he’d like to be out of this room, be somewhere else, alone. But Daniel beats him to it: running his hands through his hair again, bringing them down over his temples, looking from Owen to Ria, Ria to Owen. He says, “I maybe just need to go for a walk. I think I have to walk around, would that be okay?” He bounces a little on the balls of his feet. He’s always had this instinct, this nervous energy. It gets under Owen’s skin; it always has. Studying, in college, Daniel would pace the hallways of their freshman dorm, habitually roving, French vocabulary flashcards in hand. Murmuring “Je voudrais un café” and whatever, intermittently appearing in the open doorways to the room Daniel shared with Owen and, across the hall, the one that Ria shared with Kelly. 

They would listen to his approach, his muttered French verb conjugations, then listen to him fade away. Whereas Ria did her homework in the library—usually completed in the precise amount of time she’d allotted—and Owen might go hours without moving from the place on his bed where he liked to sit and read, his back against the cinderblock wall. Kelly, for her part, sat on the floor, her novels and notes spread around her. With both their doors propped open, Owen could see Kelly from where he sat, and they’d wave at each other, a well-worn joke. Kelly had to shield her eyes at certain times of day to see him, because of the way the light came in behind him through the window. “That,” she said once, “plus your general personal radiance,” and Owen rolled his eyes. 

Now, he says abruptly, to Daniel and to Ria, “Do you know, earlier tonight, I was criticizing her social media feed? I mean what the fuck is honestly actually wrong with me?” He stands suddenly, as Daniel looks away and balls his fists, but Ria says, with an adamant, desperate waving of both hands, “No, stop. Because maybe she is going to be fine, so you don’t have to, like, let’s not. Okay?” 

She looks from one of them to the other. Daniel says, “Look I can’t sit here like this. I’m going to go. I’m going to go walk around.” He gets up, the sliding doors part for him as he leaves. Ria watches him until the doors seal up again behind him, and then she looks back at Owen, almost dazed, as if she’s only now remembering she knows him. 

“What story?” Ria says, and it takes him a moment to realize what she’s asking. “Oh,” he says, “Kelly’s grandmother, you remember.” But Ria only looks at him. “I never heard it,” she says, “I don’t know what you mean.” 

Years earlier, when Kelly told Owen this story, she was writing about it for freshman comp, a required course. The two of them were in the same section, Tuesdays and Thursday at noon. “The horror,” he remembered Kelly would say darkly, anytime someone mentioned the class, which both of them detested. All semester she would cross the hall to lean against his doorway and read, with indignant relish, the most extremely boring sections of the Academic Writing textbook. Then she’d flutter the pages of that week’s reading and say, “Can you believe they get to make us do this?” It made Owen jumpy and impatient, the way Kelly liked to talk. The way she sometimes said things, just to hear the way they sounded. “Look,” he said, “I dislike the class too, but yes it is credible to me we’re required to take it.” Kelly exhaled; she covered her face with the book. She said, “But Owen I can’t do it. I just can’t.”

One week they were assigned to write on the subject of “family.” It was the only assignment of interest to either of them. “My grandmother died very young,” Kelly told him, her voice unusually measured. She was sitting on his floor in a white square of sunlight, her back against Daniel’s desk. She’d lost her computer charger somewhere on campus, it could not be recovered, so if Ria was out then Kelly would cross the hall to charge off one of theirs. She said, “I’m writing about this more from an imaginative position, like what would have happened if she’d lived, how life might have been different than it turned out. Because I did think that was interesting, what the TA said—about how it can be as truthful if you tell what might have happened, as it is to tell what did. More so, maybe, even. I mean I know you don’t like that TA, but.” 

Branches shifted in the window, their shadows moved along the floor, and from somewhere out on the quad a strange noise rose up. Owen couldn’t identify it, but right away it faded. He wasn’t sure what to say then, so he asked her, “Which grandmother?” “Oh,” Kelly said, “My father’s mother. My father was six, and if you can believe this, he was in the car. My grandmother drove their car off the road, and she died. But my father was fine. Of course, it was 1965, there was no autopsy, they’ll never know the reason. And there are times I’ve asked my father, don’t you want to figure out what happened here? But he says no. I think, you know, he feels he shouldn’t be affected, because all this time has passed. I mean this happened to my father when he was six, but here he is always saying: My sister has had a very hard life. My sister lost her mother at the age of two.” 

Kelly seemed to take interest in the tops of her knees then, which were bent to her chest. It must have been spring, the window behind her was open. Owen said, “That’s really, I mean,” and clicked his pen a few times over. Kelly looked up; he was sitting there with a draft of his essay open on his lap. She said, “My father doesn’t know that it’s okay to grieve for things that might have been. Anyway, what about you though? Are you still writing yours about your cat?” 

He felt uneasy, he had an impulse to sit next to her. He said, “Uh, now I’m not. Now that idea is sounding really kind of stupid. Thanks for coming over here, and taking our electricity, and putting things in horrible perspective.”

Kelly laughed as she reached to unplug her laptop. He thought she was going to say more, but instead they both heard Daniel intoning vocabulary down the hall—“La gare, le billet, se dépêcher”—and maybe those were Ria’s footsteps on the stairs. Owen looked out the window; in the wind the branches moved like waves. Anyway, Kelly was saying, “Thanks for the charge. I think this will be enough to tide me over.” Then Ria came around the corner—she was standing in his doorway, alert, her smile fading. She seemed to react to something in the air. What did she see in both their faces to make her ask: “What happened here?” 


In the years after the night Kelly falls down the stairs, only Ria keeps on living in New York. “I like my job so much,” she insists to Owen. “So I’m fine.” 

Daniel moves to Utah. He seems to feel the same as Owen, like he needs to make a change. He starts teaching high school French and—he tells Ria, who tells Owen—he takes up hiking in a serious way, he just wants to walk and walk. 

Owen relocates to DC. He takes this internship, then a PR job that turns out be okay. He gets into yoga, indoor rock-climbing, half-marathons; he goes running for miles along the Potomac. Then one day, when he’s been living there a couple years, he takes out his phone and starts reading, compulsively, his whole email history with Kelly. 

“Well, I bet that’s pretty normal,” Ria tells him. They try to catch up when they can on the phone. He gets bad cell reception at his place, so he sits on the building’s front stoop while they talk, as people go past him running, or on bicycles, with strollers and dogs, in fading light. 

“I think I disagree,” Owen tells her. “It doesn’t feel normal. I’m not so sure it’s healthy.” He tells Ria it’s unplanned, it just happens, but often: waiting for toast in the morning, or just having taken a shower, or walking from the elevator to his desk. He’ll just search Kelly’s name in his phone and start perusing, lose all track of time, the toast going cold, work emails left unopened, whatever. “It feels out of my control,” he tells Ria. “It makes me feel crazy.” “Well, no, I’m certain that it’s normal,” she insists, and he can hear the New York street noise in the background: clamorous voices, the growl of traffic, an MTA announcement as Ria descends into a subway station. She seems only to call him if she’s walking from one place to another, when she needs to fill the time. 

For several months that year Owen dates this med student, Natalie. He likes her; he isn’t sure why he goes and tells her everything he does, in so much detail. “I’ve heard of it,” Natalie says when he blurts some of this out, about Kelly, one night over dinner at Natalie’s apartment—he’s brought wine and she made pasta. “Congenital,” Natalie says. “Usually, there’s family history, right?” 

He says, “I have always felt guilty, to be honest. I was the one behind her on the stairs. Later, I found out I was the only one of us who knew this thing about her grandmother. Not that it changes anything, but. I always felt sort of responsible for her—well no that’s not the word. I felt, I don’t know what. I’m sorry, do you want another glass?” Natalie says, “Yes, sure, I’ll have another.” She reaches to take his hand, but it only makes him feel numb, and he wonders should he change the subject. The next day he deletes some emails, an effort to be present, stop dwelling, but then he arrives at this one that he really likes, with its total exuberance—Hello look at this photo, isn’t Sweden BEAUTIFUL, I’m never leaving—and he decides he won’t delete them after all. 

In the months when he was first receiving Kelly’s emails, they had just graduated from college, and she had begun her trip through Europe. The rest of them were brand-new transplants to New York—he and Daniel rented a U-Haul in June to move their things from Massachusetts. In September, Ria moved into a place downtown and started coding software for a startup, whose cutesy name Daniel and Owen mocked gently behind her back. Daniel was in his first semester of a PhD in French. Owen was tutoring to supplement, in theory, his freelance writing. And Kelly was sending them all these group emails, Hello from Copenhagen, Normandy, Berlin, etc, and mailing them postcards they taped to the fridge. All of this is strange now to remember. Owen and Daniel shared a one-bedroom far uptown—they were trying to save on rent—so Owen would email her back from his futon bed in the living room, his laptop open on his stomach, while Daniel paced a short loop from the front door into his room and back again, making notes in the margins of books or grading quizzes. 

Owen wrote, You will be glad to know the change in location has changed Daniel not at all. Kelly wrote back, Sigh of relief! She added, Stop being so gloomy in your emails, you can stop hinting how it’s going to be. Europe is beautiful, everyone I meet is wonderful. Let me have this before I join you in a lifetime of English-major underemployment. I’m totally realistic about my prospects and expect to spend my life inhabiting a series of increasingly expensive couches belonging to Ria. You can tell her I said so, xox. 

When he read this aloud off his phone in a dark East Village bar, Ria laughed and put her hands over her face. Daniel polished off his beer and said, “Too true. Ria makes much more money than any of us.” She elbowed him, he pretended to be injured. It was November, and Kelly was in Dublin. Her latest email described Trinity College, the Book of Kells, a bridge over the Liffey that she particularly liked. Owen said, “I miss her,” but it didn’t seem like either of them heard him. Ria was finishing her drink, Daniel waving down the bartender, joking that Ria would have to pay for the next round to make up for his bruised rib, seeing as she could afford it. 

Outside, an early snow was falling thinly on the sidewalks. Owen had not expected to feel Kelly’s absence on nights like this: the three of them without her in New York. When she first announced her plan to go away and travel, over Chinese takeout senior year, it had been a curious, small relief, and Owen left the feeling unexamined. Instead he’d stirred his noodles in their paper takeout box and listened to her chat, rhapsodic, about the profound and ancient beauty of the Greek language. All through college he would have said there was this space between him and Kelly—so much of what she said to him seemed inexcusably frivolous. “Proust,” she once told him appreciatively, from across a table in the library, “just knows how to write such a beautiful sentence.” She thumbed at the pages; they made a zippering sound on her skin. He stayed quiet and did not suggest that this was no observation of staggering insight. 

That was senior year, back when the four of them could spend whole Sundays around a table in the library, a little hungover from whatever party they’d been at the night before. He still recalls one morning, cold and bright, Kelly lifting her sunglasses away from her face on the library steps. “I just want to be enthusiastic and express how I love library Sundays,” she said. “I love them extravagantly and with abandon. I wish they didn’t have to end in May.” Owen, freezing, hugged his coat closer. He said, “Sure, agreed. Are we going inside?” Another time, at an after-party for a play that Kelly starred in, he recalled her dancing across the room to the place where he was leaning, ill at ease, against the wall. “I’m having so much fun,” she said, and he was possessed by a bottled feeling, like this moment was passing him by; he could not find the words to answer her. 

He wished he understood her better, he wanted to. He and Daniel were a solid match, the kind of roommates who could pass hours in the dorm in easy silence. Owen liked the way, if they ran into each other in another part of campus, Daniel brightened visibly. Then Ria was this intent, productive presence—she had, Daniel said once, an actually terrifying administrative drive. She would come home from class, from jazz ensemble, from her internship, she’d put down her bag and propose they all go to dinner now, or they should come with her to X lecture or Y film screening tonight, it was going to be excellent. Ria was the one who’d molded them all into a shabby, sudden whole, appearing in their doorway hours after move-in freshman year to ask would they like to go with her and her delightful new roommate to the ice cream social? Her dark hair was pulled back from her face, the roommate behind her wore a yellow shirt. They had honestly been thinking they might not even go, it sounded stupid, but Daniel said, “Why not, we’ll come along.” Owen remembered Kelly, the invoked roommate, sort of in the background, smiling too much.

Of course he always cared for her, it was just that something changed—once Kelly was traveling he depended on her emails in a way Daniel and Ria seemed not too. “Well sure,” Ria tells him on one of their phone calls, and in the background a car honks, someone starts shouting. Ria says, “I mean that much was clear. And so what? So you were always hard on her. Like what can you do? Be kinder to yourself.” Of late, Owen’s mostly been reading and re-reading one email from Kelly’s first week away: Dear O, Hi from Paris! Hard to believe you’ve now written back a third time. Don’t take this the wrong way, but it’s thrilling to see you break character. I’m flattered, though should note we’re in danger of establishing a healthy pattern here. What did I do to provoke this—or does it have nothing to do with me? Is real life agreeing with you, softening your edges? Or is real life just the worst, and you’re pining for the past? 

He remembered lying on his back on the futon, as he read it for the first time. Daniel was at the kitchen counter eating cereal, formulating a shared grocery list out loud. The light through the room’s single window streaked into the room, over Owen’s shoulder and on to the floor. His cursor blinked feverishly in the corner of a fresh email, re: What have you done with Owen. Daniel was saying they were out of paper towels—“Oh and orange juice,” he said. “Is that it? Anything else you need?” 

“No,” said Owen, “No nothing else, totally set, thanks.” To Kelly, he typed: Dearest K, No comment

All these things he says to Natalie in these months—over the course of so many dinners at her place, breakfasts at his, long runs together, and movie dates, and drinks in bars—it feels good to tell her, a kind of offloading sensation that both frightens and relieves him. Like something opens in his chest and the contents slide away. How after Kelly fell, after the hospital, after the funeral and everything, Owen and Daniel had arguments, raging fights about nothing: unwashed dishes, expired whatever in the fridge. How it had never been that way with them, how they started going crazy over old things from college, stuff they’d never talked about, things that hadn’t seemed to matter at the time. How Daniel started staying at his office later and later, even sleeping there some nights. How when their lease was up they said it might improve things if they lived apart. How Owen made the excuse that he was sick of the futon—he said a year was about as much as he could do, living that way. They moved out, Daniel went home to his parents’ in Boston, saying it would just be for the summer, he’d see them in the fall. And Owen lived on Ria’s couch for those three months. “We drank way too much,” he tells Natalie, who looks troubled but puts her hand on his. He says, “Just me and Ria at home, or we’d go walking blocks and blocks around New York at night. It was terrible, we didn’t know what to do with ourselves, we were always crying. I remember Ria would say, ‘We just can’t think about it, we just have to find things to do with our time.’ She called Daniel almost every day, but I never did. She’d sit on the fire escape and talk with the window closed. And then instead of coming back to the city Daniel takes this high school teaching job, he tells us he’s going on leave from the PhD. He says he just has to process things alone, he’ll just do this for one year and then he’ll be back, he promises. He came to the city once more before he moved out west, I think it was August, the three of us had a drink. Margaritas, on some rooftop, awful. We tried to talk about her, about what happened, but it was like, I don’t know. I remember Ria said, ‘Okay enough, let’s get the check, I can’t, I want to go home.’ I remember hugging Daniel, I said, ‘Good luck and let us know how you are there,’ and he said, ‘Definitely I will.’ But actually we don’t keep up at all, it’s only Ria who’s in touch with him, and rarely to be honest.” 

The night he says all this to Natalie, they’re walking to a restaurant for dinner. They meet up when she finishes class, she comes out of the front door buttoning her jacket, putting papers in her bag. She kisses him hello, her hand on the side of his face, and they go for a drink at a bar down the block, catch up about her day. Then she is talking about anatomy lab, and out of nowhere he is saying all of this. “Let’s walk,” Natalie says, “let’s walk to dinner.” She grasps his arm and then lets go. The light is all but faded as they come to Dupont Circle, the windows have a dusky shine, cars in the roundabout whirl violently, and he wishes Natalie would take his hand again, he has the impulse to reach for her himself, press the bones of her wrist, the length of her fingers. Instead he stuffs his hands down in the pockets of his coat and wishes for another way things might have been. He feels sorry for getting into this at all, and when they pause at a crosswalk he can feel Natalie look over at him—curious, gentle, just a little alarmed. In the dark, his face warms. 

He has never forgotten all those sensors, wires, taped to Kelly’s face. Taking the pulse of her brain. It was a smaller room than you’d expect, the lights off, everything sort of purple. The better to get at her forehead, someone had gathered her long hair away, piled in a twirl on the pillow, like dry seaweed strewn on a beach. 

He and Daniel and Ria stood there, shoulder to shoulder. Early hours of the morning, pre-dawn, her parents had arrived, and somewhere they were off conferring hopefully with doctors. It would be another hour before they tried to wake her, but a nurse came to check on all the charts and screens and fluid bags, and he said it was perfectly all right to take her hand if they would like to do that. 

In Owen’s memory, Ria straightens up, as though it’s clear she must go first. The hand sanitizer, in the corner, is automatic, it gurgles when she puts her palms out. Then she goes and links her hand in Kelly’s, looking stiff and anxious, her eyes fixed down. Daniel hesitates, then he goes to the hand sanitizer too. The machine growls briefly, and when Daniel turns back he meets Owen’s gaze, gives a small choked cough, and nearly laughs. Bleakly, Owen tries to smile, but Daniel looks away. The last time they are all four together in one place. Owen is bewildered, he takes Daniel by the elbow, knowing this is helping nothing. Ria takes a long unsteady breath, she lets go of Kelly’s hand, she lets it stay there on the blanket, her own hand hovering above it. “I don’t know what to do,” she says, in a voice that’s rising, verging panicked. She puts her hand up to her forehead, says, “I think maybe we should go now, should we go now, do you think?” She looks at Daniel, looks at Owen, like one of them is meant to tell her what to do. And then Owen can feel something between all of them, coming undone. Neither he nor Daniel answers, and everything is quiet, there is only this repeating beep, beep, beep, as Natalie turns in the crosswalk with an inscrutable expression. The crossing light flashes, Owen stands at the curb, his heart is racing. “Are you coming?” Natalie says, and puts out her hand. The dry leaves turn over in the wind, and over and over.

There Has Never Been a Better Time to Read Ursula Le Guin’s “Earthsea” Books

It didn’t start with George Floyd, but his death was the shock that brought thousands of heroic Black people from out of pandemic lockdown to fight back against systemic forces of death. The moment felt supernatural, like a scene from an Ursula K. Le Guin fantasy novel.

Le Guin, who passed in 2018, was a brilliant science fiction and fantasy writer who built entire worlds based on concepts of Taoism, feminism, and transformation. She loved color and trees, but mostly she loved subversive ideas.

Though the city backdrop of most high-profile protests is at odds with Le Guin’s lush settings, this moment in 2020 feels like something she might have imagined: Black and brown people banding together to uproot an inequitable system built by hordes of pale brutes. And then, as if by magic–just like the penultimate scene in one of her final books–a coalition of people of all hues and ideologies unite to rework society in the name of equilibrium. One thing that remains true, both in her vision and in our world, is that this magic originates with Black people.

That’s the brilliance of Le Guin’s Earthsea Cycle, one of the first fantasy series to cast dark-skinned people in protagonist roles. Normally, each autumn I immerse myself in all six of the books, but with the rise of a new Civil Rights movement, I’m moving that schedule up to summer, and I think now is the perfect time for everyone else to follow suit.

I stumbled upon A Wizard of Earthsea, the first book in the cycle, as a twelve-year-old. Bored with the Agatha Christie mystery my class was reading—And Then There Were None—I decided to skip through my literature book instead. Turning past pages of characters who had nothing in common with me, I settled into a cozy yet rustically sparse yarn about an adventurous adolescent who calls and commands hawks and apparitions of mist with equal aplomb. Using these gifts, he saves his home from “a savage people, white-skinned, yellow-haired, and fierce,” who liked “the sight of blood and the smell of burning villages.” 

Reading that line filled me with dread; the bad guys in this book were like the bad guys in my own life. I was the only Black kid at an all white school, and my classmates’ monolithic disregard for my being was appalling. But in this story was an unremarked-upon truth that I thought no one else knew: being white did not make you virtuous. Everything else I read at school taught me that being Black made me inferior. With A Wizard of Earthsea, I was more than equal. People who looked like me were not only the majority, they were the heroes. 

Everything else I read at school taught me that being Black made me inferior. With A Wizard of Earthsea, I was more than equal.

Sure, I’d read a couple of stories with Black superheroes before—Black Panther and Luke Cage—but their compressed, one-and-done storylines left me wanting more. With Earthsea, my brain was satiated by complicated concepts that extended beyond 24 pages. 

I spent the remainder of that day reading the book, ignoring every other lesson, even skipping P.E. and lunch until I’d made my way through all 200 pages. Whenever my teacher called on me, I replied without caring whether I was correct or not, so long as I was able to return to my adventure. In Earthsea I met a boy who receives his true name (Ged), rejects patience, is scarred and humbled yet grows up to slay a dragon, and finally embraces the shadowy aspects of his soul. 

I marveled that during these adventures, the writing refused to equate evil with blackness, even when Ged worked forbidden necromancy. “Evil” in Earthsea was abusing the world’s natural order. Yes, magic allowed one to summon rainstorms, but that water had to be taken from somewhere else; cause and effect with a dash of chaos theory.

Ged is responsible for the evil that occurs in the first book, when in an act of youthful boasting, he opens a portal to the land of the dead. What comes out is a shadowy, substanceless unbeing. The only way for it to continue to exist is by consuming his life force; Ged gave the world his shadow and now it will take over his entire being. This shadow pursues him across the world, becoming more distinct, and looking more like Ged anytime they come into contact. This unbalanced attempt to consume life manifests in different forms as the great evil in almost all of the Earthsea books.  

In Earthsea, the villains are not Black—but the protagonist is.

Contrast that with the dark—and frankly, racist—orcs of Tolkien’s tomes or any other de facto black evil. The elder gods who collapse the temple in the cycle’s second book, The Tombs of Atuan, or the vacuum that is devouring the world’s magic in the third book, The Farthest Shore, are bad because they take without giving anything in return and because they want to eliminate Ged. They are neither dark sorcerers, savage ethnics, nor brutal simians out to overthrow the white man. In Earthsea, the villains are not Black—but the protagonist is. This iconoclastic vision of who was allowed to be the hero did more to bolster my self esteem as a child than any prize I ever won. 

Le Guin was clear that the colorism in her work was a well-crafted decision. Her oft-cited essay on the matter from Slate is too delicious not to quote: 

My color scheme was conscious and deliberate from the start. I didn’t see why everybody in science fiction had to be a honky named Bob or Joe or Bill. I didn’t see why everybody in heroic fantasy had to be white (and why all the leading women had “violet eyes”). It didn’t even make sense. Whites are a minority on Earth now—why wouldn’t they still be either a minority, or just swallowed up in the larger colored gene pool, in the future?

In this same essay she dropped the mic on assumed privilege in our country: 

I think it is possible that some readers never even notice what color the people in the story are. Don’t notice, don’t care. Whites of course have the privilege of not caring, of being “colorblind.” Nobody else does.

The daughter of two prominent anthropologists, she began the Earthsea books in 1968 because her publisher wanted something that would sell to adventure-minded boys. Using the books, she built a world with solid rules that evolved and shifted to bring on new considerations. The Black majority of Earthsea weren’t pious characters concerned with respectability politics. Like Ged, they were allowed to be selfish, complicated, and beautifully disastrous. The antagonistic white savages from the Kargad Empire turned out to have their own equally developed system of beliefs. Neither side was perfect, but the Black majority led the story.

All of this came out over the span of 33 years as Le Guin dug deeper into Earthsea’s culture to comment on our own. Without starting over, or burning everything down, she used her final book to remake the system that readers thought they understood. Centuries before—according to Earthsea lore—the Black people used their magic to colonize the realm of dragons in order to create an afterlife. “The Dry Land” meant that Black people could exist even after death, but without any purpose. The white people rejected this system, banned magic, and reincarnated after they died. The dragons were pissed off and eager to reclaim their stolen dominion, while the dead wanted to end their eternal existence and rejoin the cycle of life. In The Other Wind all four sides unite to dissolve the Dry Land and create a re-balanced system.

The Earthsea cycle offers a world where the Black people who are at the center learn to expand their circle in order to construct a new social compact.

As fantastical as this is, the idea of giving up something as valuable as life after death in order to bring the world into balance can offer us a model as we reimagine a world without police. Like the Dry Land, the police force is founded on injustice and exists to perpetuate injustice—it protects white people at the expense of Black lives, as the Dry Land protects Black lives at the expense of everyone else. Pre-Civil War slave patrols transformed into a constabulary that enforced Jim Crow. Our country eventually passed legislation to abolish discrimination but without properly recreating the system. Previous injustices—like the idea that Black lives matter only three fifths as much—will continue to be reinforced in idea and practice until the institution that arose from them is dissolved. 

Emmett Till, Rodney King, Tamir Rice, Eric Garner, Breonna Taylor, George Floyd, Tony McDade, and too many others to name: their lost lives are proof that our system does not work. The Earthsea cycle offers a world where the Black people who are at the center learn to expand their circle in order to construct a new social compact.

To white protestors and accomplices, who say that they want to listen but are fearful of giving up some power so that we can all heal, I suggest you read the Earthsea cycle. You will need to learn to step away from the center to build a new world, and the Black majority in this fantasy series offers a better model than any white history. I encourage Black people to read Earthsea too, if only to remind yourselves that once upon a time a white woman in Portland saw us, recognized us as beautiful, and built an entire world where we had the privilege to decide that we could share our power.

Let’s make our new reality an even better world than Le Guin’s.

7 French Books About Family Secrets

I always knew there would be an explosive family secret at the heart of my novel, just as there was in my own life—my father hid a second family from my mother and me, and its discovery forever changed our relationship. It’s no surprise, then, that I’ve often recognized myself in tales of secrecy and betrayal, especially those that take place within a family. 

The Margot Affair by Sanaë Lemoine

In The Margot Affair, 17-year-old Margot Louve is the hidden daughter of an affair between a politician and a stage actress. It is a secret she is forced to guard fiercely, and only a small inner circle knows that her father is married to another woman with whom he has two sons. One hot summer afternoon, a chance sighting of her father’s wife crystallizes Margot’s position as the other child, on the wrong side of his double life—and in that moment she feels an intense desire to claim her own legitimacy. What follows is the aftermath of Margot telling the truth about her father. I wanted to explore the consequences of setting a secret loose. 

While writing my novel, I turned to books about French families, though soon I noticed a common thread in the ones I’d chosen: Secrets were withheld and revealed. It’s a cliché to say that all families have secrets, and yet I was fascinated by these double lives and intricate lies, the silences that implied something beneath. Most of all, I loved seeing what happened when those secrets inevitably surfaced. Even if the release was cathartic, it could come at a great cost. Here are the seven books that most nurtured my curiosity for the hidden.  

The End of Eddy by Édouard Louis, translated by Michael Lucey

I tore through this book in one sitting on a train ride from Paris to Brittany. Édouard Louis writes about being raised in a small village in post-industrial northern France. His family is poor and lives in a culture of male violence, alcoholism, and repeated humiliation. Eddy knows from a young age that he is gay. For years he seeks to hide his desire, pretending to be a “tough guy.” It is a childhood shrouded in shame. In private, he’s violently beaten by his classmates for being different. His first sexual encounters take place in a shed with his cousins. In an unspoken pact of sorts, they are never discussed, not even when his mother catches them mid-act. He finally flees to a boarding school in a nearby city, then Paris. The novel is a radical coming-of-age with a literal shedding of his name: Eddy Belleguelle becomes Édouard Louis. Even so, for a long time he conceals where he comes from, the past a shameful secret. 

The Lover by Marguerite Duras

The Lover by Marguerite Duras

Marguerite Duras was 70 when she wrote The Lover, an autobiographical novel set in prewar Indochina that recounts an affair between a 15-year-old French girl and a Chinese man. Through fragments that weave in and out of chronology, we see the young girl beaten by her mother and older brother. We see her step into the private space of a black limousine to meet her lover. She refers to him as a lover, to the relationship as an affair. Her mother would kill her if she ever found out. But the mother suspects it or perhaps already knows. Regardless, the truth remains a fragile secret until the end. In one scene, mother and daughter skirt around its edges, perhaps knowing that the affair can remain beneath the surface as long as the daughter stays silent. The experience of reading The Lover reminds me of the mother and daughter in that scene, circling around a truth that feels both vivid and elusive.

I'm Supposed to Protect You from All This by Nadja Spiegelman

I’m Supposed to Protect You from All This by Nadja Spiegelman

At the heart of this remarkable memoir is the brave act of imagining one’s mother as a girl, long before she became the woman who birthed and raised her. Nadja Spiegelman, who is half French and writes in English, probes into her mother’s and maternal grandmother’s pasts. For most of her childhood, Spiegelman couldn’t imagine her mother’s interior life: “The past was always there on her body, but I couldn’t see it.” What was inside, beyond the scars? Where did those wounds come from? As we enter the intimacy of her mother’s memories, secrets fall away, and we discover three generations of French women who shaped each other. Silences are replaced with vibrant recollections. But memory is subjective and unpredictable, so the remembrances of grandmother, mother, and daughter often collide. We never quite know who to believe. And yet, I ardently believed in the mother and daughter as a unit able to withstand just about anything. 

Nothing Holds Back the Night by Delphine de Vigan 

This powerful memoir opens with a suicide: the author’s mother has taken her life at age 61. So begins the exploration of a mother’s life, recreated from hours of interviews with family members. Like Nadja Spiegelman, de Vigan endeavors to imagine her mother as a young girl. We find again the push and pull of maternal love and neglect, the hope to capture the mystery of a woman who was plagued by manic episodes. But how to form a complete portrait when the mother is no longer there to tell her story? The brilliance is in de Vigan’s boundless empathy as she searches for the origin of her mother’s suffering. The revelations are devastating—a rape within the family, a hidden illness. Though what brought me to tears was the mother’s love, hiding in plain sight, always there. 

Adèle by Leila Slimani

Adèle by Leïla Slimani

Adèle, the protagonist of Slimani’s first novel, leads a double life. She is married to a doctor and together they have a three-year-old son. Most of her energy goes into concealing her sex addiction. She repeatedly lies to her husband as she seeks out increasingly dangerous and degrading sexual encounters. Terrified of being found out, Adèle meticulously organizes her life to hide her compulsions. Slimani is a master at writing about the daily travails of domesticity with precision and fierce directness. There is a slight moment of reprieve when Adèle hopes that motherhood will act as a remedy, but as a reader, we know it is only a matter of time before the finely tuned tale gives way, and even as Adèle barrels towards that precipice, we cannot look away. Not even the reader is spared. 

Bonjour Tristesse by Françoise Sagan

Published in 1954, this slim novel takes place at the height of summer. 17-year-old Cécile and her widowed father have rented a grandiose villa on the Côte d’Azur. Cécile’s father has brought along his latest conquest—the young Elsa—whom she sees as innocuous. However, the sudden arrival of her late mother’s friend, Anne, threatens the equilibrium. Anne is beautiful, elegant, and older than Elsa, and before long, she and the father fall in love. Eager to regain her independence and her father’s undivided attention, Cécile constructs an elaborate plan. It is a web of lies and secrets with Cécile at the center, though our young protagonist fails to anticipate how her duplicitous game might harm those involved when the truth is laid to bare. Whenever I read Sagan, I’m stunned by the precociousness and energy of her writing—it lights up even the darkest moments of the book and leaves me wholly unprepared for a tragic outcome. 

Incest by Christine Angot

Incest by Christine Angot, translated by Tess Lewis

I first encountered this feverish, maddening book in my early twenties. From the beginning Angot subverts our expectations by focusing on an obsessive relationship with a woman. We expect her to write about an incestuous relationship, but it seems to be an afterthought, withheld until the last section of the book. (Most readers will know that Angot was born out of wedlock; her father was married to another woman, with whom he had two children.) When mentions of the incest appear, a sentence here and there, they rattle us. When the narrator declares: “I wanted to be a writer, I wanted a powerful start, I seduced my father,” we are grasping for explanations. When she finally writes about the incest, we are torn up, caught in that tense space of bearing witness to her past and wanting to un-see its violence. Not only does her father initiate sexual relations with his daughter, he keeps her very existence hidden. Even when she’s a grown woman, he refuses to publicly acknowledge her. No one in the village knows about his illegitimate child. But with this book, Angot flips the tables: “He is my incestuous father,” she says. “I acknowledge him.”

Essential Workers Are the New “Magical Negro”

In the 1999 incarceration fantasy drama The Green Mile, Paul Edgecomb (Tom Hanks) is a despondent prison warden suffering from a chronic bladder infection that frequently incapacitates him and impedes his ability to effectively police criminals in the Depression-era South. In one pivotal scene, baritone-voiced inmate John Coffey (Michael Clarke-Duncan) dwarfs the prison bars that enclose him and lures Paul Edgecomb toward his cell. At once, John Coffey reaches for Edgecomb’s crotch. Rather than inflict violence or sexual assault, however, John Coffey heals Paul Edgecomb of his bladder disorder in a flurry of magical realism and billowing musical score. 

Prior to this miracle, the white warden viewed Coffey’s hulking black 6’5’’ frame with suspicion, believing that Coffey deserved his death sentence for the sadistic violence he had allegedly wrought within the community. At the moment of Coffey’s supernatural healing, however, Edgecomb undergoes a change of heart. Coffey’s mystical ability not only proves his worth in Edgecomb’s eyes, but underscores his innocence. Although he is mild-mannered and lovable throughout the film, it isn’t until John Coffey demonstrates his “value” and transmutes from criminal to shaman that his metamorphosis as a Magical Negro is complete. The super-humanization of black characters to propel the moral arc of white protagonists is a commonly used cinematic and literary device, and today, in the era of COVID-19, the Magical Negro reappears on the news and in mass media as an economic and moral foil otherwise known as the Essential Worker. 

The Magical Negro is at once a super-humanization and dehumanization of the black individual.

Paradoxically, the Magical Negro is at once a super-humanization and dehumanization of the black individual. The trope positions blackness at the intersection of two apparently contradictory qualities, reliable strength and agreeable meekness. These are services that the Magical Negro dispenses to white characters because the Magical Negro exists only to serve. In the 2018 Academy Award-winning film Green Book, Mahershala Ali’s Dr. Donald Shirley exists as an ancillary prop for the deeper development of a caricatural Italian-American working-class man. Hardly any effort is made to explore how Shirley’s queer identity—compounded by his blackness—informs his worldview, his mental health, and his lack of safety while traveling across the United States. It is almost comedic how Shirley’s musical genius, despite being the primary driver of the film’s plot, is deployed as a method for the rehabilitation of Frank “Tony Lip” Vallelonga (Viggo Mortensen). 

Vallelonga is introduced as a brutish yet likable “paisan,” a man who disregards decorum and gentility at every turn. In a poorly-crafted attempt at racial subversion, it is Vallelonga who is the simpleton and Dr. Shirley who is the cultural savant. And yet, Vallelonga’s middle-aged bildungsroman is the focus of the film. Dr. Shirley’s magical music converts Vallelonga into an attentive husband, a patron of classical music, a LGBTQ+ “advocate,” and most importantly, a black “ally.” Since the film’s release, Dr. Shirley’s real-life family and estate have condemned the film and the portrayal of his relationship with Vallelonga as false. 

In these two films, as in countless others, the psycho-emotional and physical trauma that the black characters endure, the intricacies of their own personal histories, and the exploitation of their labor are regarded as mere footnotes. We never see these black characters substantially interact with members of their own communities, or even demonstrate an iota of distrust toward their white charges. The spell that the Magical Negro casts is an abracadabra of autophagy. Blackness is swiftly muted and perfunctorily eulogized as the camera pans to the apologetic and “well-meaning” white hero. 

The Magical Negros of cinematic lore, those black sacrificial super-humans appropriated for the advancement of white people, have emerged as our essential workers.

With the advent of COVID-19, the celluloid eulogies have transformed into ritual evening shouts and clangs of pots and pans. The Magical Negros of cinematic lore, those black sacrificial super-humans appropriated for the advancement of white people, have emerged as our essential workers. Once it became clear that lockdown would not be a temporary inconvenience, essential workers were catapulted onto a pedestal of national esteem; their existence became a salve of instant-gratification, providing counterfeit normalcy amidst a growing tempest. One need merely examine the language used to describe essential workers to observe their glorification into superheroes, fighting for our survival against a villainous disease. They are always on the “front lines,” “in the trenches,” or “on the battlefield.” Yet our society willfully refuses to acknowledge their vulnerability and systematically denies them sufficient safeguards. 

Our essential workers are overwhelmingly black and brown individuals who have been neglectfully underpaid, unprotected, and subjected to the racial inequities that have always existed in our white supremacist nation. Capitalism has consistently demeaned our cashiers, grocery workers, delivery persons, sanitation departments, custodial workers, medical assistants, and public transportation employees. However, in our national moment of crisis, their service has been rendered critical—and their compliance imperative. Under the watchful eye of technocrats and governmental autocrats parading in democratic regalia, the essential worker is extended sufficient compassion so as to ensure their continued service, and not a drop more. The essential worker is bound to their labor through financial imperatives and ideological coercion thinly veiled as “professionalism.” They are thrown in harm’s way, risking their lives, the lives of their families, and the lives of their communities at the nation’s behest. In The Green Mile, the risk that John Coffey takes to save two white children costs him his life. At the moment of his electrocution, John Coffey sends mythical sparks throughout the execution chamber, yet there is no retribution for this punitive injustice. There is just a scene of a grief-stricken and healthy Paul Edgecomb looming over Coffey’s dead body. 

This version of the Magical Negro is not a fantasy, but the real-life manifestation of these sanitized and feel-good stories.

Our profit-driven institutions have been failing the essential worker long before the threat of a pandemic, but unlike their cinematic counterparts, this version of the Magical Negro is not accompanied by a romantic score or Best Supporting Actor Academy Award. This Magical Negro is four times more likely to die from COVID-19 complications, has a doubled risk of unemployment, and is disproportionately represented among the unhoused and displaced. This version of the Magical Negro is not a fantasy, but the real-life manifestation of the sanitized and feel-good stories that the history books and the movies have constructed. We must not allow their pain to be reduced to “resilience,” because what we are witnessing is a spell of structural subjugation. 

How can this sorcery be broken? An incantation is only as strong as the words used to conjure it, and therefore the language used to describe essential workers must transform. Essential workers are not “miracle workers”; they are “at-risk workers”; they are “vulnerable workers”; and the dangers they face warrant recognition. Their service is not always voluntary, and a true understanding of this dynamic approximates the vulnerable worker to the individual. A 7pm applause is not the only way to demonstrate gratitude; lobbying, donations, and calls demanding personal protective equipment, hazard pay, legislative protections against deportations, access to free childcare and healthcare are just a few tangible demonstrations of structural gratitude rather than performative allyship. 

The next step is to divest power from the growing technocracy, privatized companies, and governmental institutions, and siphon it back into the hands of the laborer. Reagan-era de-unionization cemented a culture of consumerism that survives today, establishing a climate of fear in which workers are unable to mobilize against dangerous working conditions and unjust remuneration. The vast majority of today’s essential workers are hourly employees or members of the gig economy. Rather than admit that this new capitalistic trend devalues labor, our societal rhetoric elevates the grim reality of economic survival as demonstrations of “heroism.” In order to address the precarity of this underlying insecurity, worker’s rights and protections must return with a vengeance.

The ‘magic’ of the negro is simply a derivative the negro’s service. What if that service were reclaimed?

Eventually, there must be a national capitulation of the anti-black, anti-indigenous, and xenophobic foundations of the United States. The rhetoric of “liberty” and “freedom” is a smokescreen that has obfuscated the lived experiences of poor and working class people of color, since the same falsely meritocratic legacy that suppresses the Magical Negro is the one that kindles police brutality against marginalized communities. In fact, the very definitions of “men” and later “women” as detailed in our constitutional framework only retroactively include black and brown individuals. Even despite these revisions, heedless nationalism continues to prevent honest discourse. Only when this discussion is had in the open can the country progress. In order to fully shake the shackles of exploitation demanded by a capitalist system, all nations must begin imagining post-work and anti-work futures. In order to humanize the essential worker, the United States must recognize the intrinsic value of its denizens independent of the labor they provide. 

This will require a paradigm shift that divorces one’s perceived utility in society from one’s profession. The concept of “hard work” that “builds character” must be reexamined as capitalistic propaganda that reifies white supremacy. If hard work creates honorable citizens that are worthy of praise, why are the hardest-working in our societies the least respected? Considerations like Universal Basic Income are just the beginning of ways individuals can self-actualize beyond the confines of productivity. The “magic” of the negro is simply a derivative the negro’s service. What if that service were reclaimed? Not in the form of black-owned business, entrepreneurial ventures, or visions of “black excellence” framed by monetary advancements, but rather as the right to flourish as essentially human? Magic indeed. 

The Queer Slacker Pizza Delivery Novel We’ve Been Waiting For

The anti-heroine of Pizza Girl—pregnant and 18 with an I-don’t-give-a-fuck attitude—reminded me of a younger sister I wanted to grab by the shoulders, shout, “Stop it, you’re ruining your life!” only for her to respond by slinking away. She reminded me of a younger sister I trailed furtively behind through the palm-tree lined streets of Los Angeles, where this story takes place, in order to find out what she was really up to—but when I glimpsed, in these private moments, her loneliness and pain, my heart broke for her. 

Pizza Girl by Jean Kyoung Frazier

That’s the kind of protagonist Jean Kyoung Frazier—whom I first met when we were fiction students at Columbia—has crafted in her tender, sharply observed debut, lauded by authors such as National Book Award Finalist Julia Phillips, and listed in Electric Lit, LitHub, and Poets & Writers’ “Most Anticipated Debuts of 2020.” 

Specifically, our narrator’s world is disrupted when she receives an intriguing phone call from a customer at work, where her job is to deliver pizzas. “Have you ever had the kind of week where every afternoon seems to last for hours?” the stranger asks. It’s the kind of question that pierces our narrator, who feels suffocated by her mother and boyfriend, and the grief she won’t admit about her alcoholic father who’s recently passed away. Pepperoni-and-pickles pizza in hand, the narrator meets Jenny Hauser. Jenny is whimsical, refreshingly honest, and married with a kid. Our narrator quickly falls in love—or obsession—with her. Through the lens of a young, queer, biracial woman of color, Pizza Girl explores what it looks like to feel lost and desperately long to escape from your own life, as well as the idea that what you see is not always what you get. 


Daphne Palasi Andreades: One aspect I thought you captured so beautifully was how the narrator uses fantasy as a way to cope with the painful parts of her life—her dissatisfaction, rage, and, above all, her loneliness. Her fantasies are full of longing and lighthearted until, over the course of the story, they grow more destructive and veer into delusion. This idea of escaping into fantasy also resonated with me; as a fiction writer, imaginary worlds are our fucking playground. What role would you say fantasy plays in your book, as well as in your own process?

Jean Kyoung Frazier: What I love about the word “fantasy,” is that its weight and shape varies person by person. Some might fill their days with fantasies of grandeur, conjuring lives greater than their own, while others might only do it passingly, the height of fantasy to them is sitting down somewhere, alone, eating a medium rare burger and a Coke, i.e., what’s sexy to you may not be sexy to me.

In writing Pizza Girl, I was thinking a lot about when fantasy can go wrong. Especially as a writer, I have to believe it’s possible to have a healthy relationship to fantasy. There’s nothing wrong with a day-dreaming or even trying to find concrete ways to make your fantasies into realities. That being said, what’s the line? How do you know when you’re just being delusional and seeing what you want to see? When does fantasizing become harmful? I wanted to explore that weird line within my novel.

DPA: Pizza Girl falls into the so-called genre of “slacker fiction.” I’m thinking of novels like My Year of Rest and Relaxation by Ottessa Moshfegh. The narrator avoids facing her problems and doesn’t necessarily know what she wants to do with her life. Instead, she copes by choosing not to deal. I adore slacker narrators because they don’t give two shits about social norms and, through their inaction, critique received notions of how we’ve been taught to exist in the world. Also, narrators who don’t give a damn, like in Pizza Girl, are hilarious and insightful. How did this character and this world come into being for you? And why was it integral to have a “slacker” narrator tell this story?

JKF: Gosh, I just really fucking love that there even exists a genre called, “slacker fiction,” and that my novel is a part of it.

So, slackers have existed since the dawn of time (I like to imagine a Cro-Magnon cave bro telling his buddy, “Eh, I don’t really want to hunt and gather today, yafeel?”), but I do think there’s something unique about being a slacker in the 2010’s, particularly a teenage one. There’s social media feeding our natural inclination to judge and compare combined with conventional views of the progression your life is supposed to take—get good grades in high school so you can go to a good college and get more good grades so you can graduate and get a good job where you can make good money and just keep being good, so good, until you die, hopefully before then marrying a good person so you can produce good babies who will begin the cycle anew—it’s enough to make anyone a little crazy, especially those who don’t or just can’t follow this one-size-fits-all life instruction manual.

Even the term “slacker” is often used a little reductively since its connotation is negative and used synonymously with laziness. I think it’s more like, for whatever reason, slackers just can’t bring themselves to care about what they’re being told to care about. While sometimes that reason is founded in laziness, it’s usually more complicated than that. Slackers slack because something or many somethings have happened to them that’ve made them believe their efforts won’t produce anything of value or yield a better life situation.  

For Pizza Girl, having the narrator be a slacker was key since so often in stories with teen pregnancy there’s a lamentation about what the young woman is losing out on by choosing to have a baby at that age. However, I wanted it to be clear that even if she hadn’t gotten pregnant, her life would still be a mess. She’s an adult only by the simple fact of her eighteen years. She’s still really just a child whose emotional wounds and upbringing have made it difficult for her to gain a sense of self or to plan.

DPA: These are all such great points. I loved that you turned the teenage pregnancy narrative on its head, too—with or without the baby, the narrator would have still been just as lost. 

But your novel does a ton of things differently. For instance, slacker fiction often features men—specifically, straight white men. Conversely, Asians and Asian Americans have been depicted in contemporary literature, TV, and movies, as the nerd, the programmer, the doctor—all tropes of the “model minority.” However, what’s interesting in Pizza Girl is that the narrator doesn’t fit neatly into any of these categories or stereotypes. What, in your view, is the value in resisting these tropes and stereotypes?

JKF: In conceiving Pizza Girl’s voice and character, I was thinking a lot about what you brought up—slacker fiction being dominated by the white, straight, cis-male. Let me assure you, as a queer, bi-racial woman, I have wasted countless hours slouching away from responsibility. If being a fuckhead was an Olympic sport, nothing but gold would be hanging from my neck. DM me for references.

If being a fuckhead was an Olympic sport, nothing but gold would be hanging from my neck.

I’m being funny, but resisting stereotypes and tropes matters, even when it’s for something as inconsequential seeming as who is being shown slacking in fiction. It may seem like no big deal, but by having slacker fiction be male-dominated, it’s perpetuating the idea that aimlessly fucking around is a specifically male thing. Even if it’s not outright saying it, what it translates to is that women are held to different standards—they exist to watch men fuck around.

When Asian people are portrayed in books or on the screen so sparingly and rigidly, as a kind of punchline, an entire group of people is made to feel small, told that they can only be relevant by acting a very specific way. 

Unfortunately, for a lot of people, stereotypes and tropes are the only references they have. As a regular-ass person, this bothers me. As a writer, this motivates me to both tell stories that challenge people to think beyond what they’ve been accepting as the reality/norm and also, to make those who’ve felt lonely, a little less so.

DPA: Early on, we learn the narrator’s mom immigrated from Korea to Illinois when she was 17, met a white American Midwestern dude, fell in love with him, and had a daughter—our narrator. I thought it was a cool choice to show that, although immigration and the narrator being a mixed-race kid, as well as queer, are parts of her identity, her sexuality and her racial/ethnic background aren’t central conflicts in the story that she wrestles with. Instead, her sexuality and ethnicity are textures that enrich her character and this world.

Because of this choice, I felt Pizza Girl expanded representation for marginalized groups in art and fiction: not all POC, mixed-race, and/or queer characters have to be conflicted about their identity—they can just be. Just like how POC and queer authors can simply be. What are your thoughts on this?

JKF: Well, first off, thank you. That’s very generous of you to say and, as someone who is both queer and half-Korean, that means a lot to me.

While it’s obviously incredibly important and valuable to have fiction where racial, ethnic, and sexual identity are central conflicts, I do also think there’s value to be had in casualness, to, as you put it, let things just be, and explore the issues POC and queer people have beyond the ones that stem from their race and sexuality. 

Basically, if you want to write a coming-out story, if you want to write about the unavoidable difficulties of being a POC, do it! Fuck yeah! There’s always more of that needed. But if you also don’t want to do either of those things, that’s awesome too. Just be cool and kind and write good shit.

DPA: But why, exactly, do you think there’s “value to be had” in casualness? In people who are POC and queer who choose to write about characters that extend beyond grappling with identity?

Male-dominated slacker fiction perpetuates the idea that aimlessly fucking around is a specifically male thing. And that women exist to watch men fuck around.

JKF: I just remember the many years I spent in the closet, feeling sick with shame about myself, wishing I could just be “normal.” I put normal in quotes because obviously I am normal, among other things—beautiful, awesome, cool, kick-ass, worthy of love, etc.—but I didn’t always feel that way and I wonder if a lot of that’s because for so long, mainstream media made me feel like queerness was only acceptable and digestible in very specific ways, and even then, even if I was palatable to the heteronormative masses, I would still be viewed as other, my queerness my defining characteristic.

While casualness in writing doesn’t erase, nor is it meant to, the struggles that come with sexual and racial identity, I do think it can serve as a kind of gentle reminder that you are more than just those struggles—you are a person, who like most everyone else, is just doing their best.

DPA: Let’s talk about the family dynamics in the story. As the novel progresses, we see the narrator’s increasing reliance on alcohol to cope with her problems. We learn about her father’s addiction to alcohol, and we piece together that a huge part of her despises her dad precisely because she sees so much of him in herself. I found your handling of difficult, heavy topics like addiction to be so powerful. You show how trauma, pain, and ways of coping are passed down in families. How did you approach writing about these challenging motifs?

JKF: I just approached it with honesty and with a determination to not make any character a villain. Generally, no one wakes up one morning thinking, “How am I going to ruin the people I love?” yet they still find unique and fucked up ways to do so. The children of those people would never want to make someone, particularly their own child, feel the way they were made to feel, yet, children of addicts and abusers are at increased risk to become ones themselves.

DPA: Pizza Girl shows how people, in the end, really don’t know each other as well as they think they do. For instance, there are characters who the narrator thinks she knows and proceeds to write off, and characters who she swears she understands, but are really people whom she projects her desires onto, like a Rorschach inkblot. Through this first-person narrator, you show the limitations of our own perceptions, and how our perceptions can change dramatically if we view people from a different angle, a different context. Were these dynamics ones you were always interested in exploring when you started the book or did they come about organically? Why did you choose to write from the first-person point-of-view?

Asian people are portrayed in media so sparingly, as a punchline, told that they can only be relevant by acting a specific way.

JKF: It’s something that I’ve always thought about and still continue to think about—how difficult it is to know anyone. 

At the last bartending job I had, I remember there was this couple that came in all the time that my co-workers and I adored—they were hot, charming, and tipped well. One day, I was cleaning underneath the bar and I overheard her ask him, “Where does your wife think you are right now?” 

It was shocking to hear this, but also not, since ultimately, what did I really know about these two people other than their drink orders? We’re always saying things like, “They seem like a good person,” “I like their vibe,” “I trust my gut,” but it’s easy to be your best, most charming self for two to five minute increments.

With all this in mind, writing Pizza Girl in first-person seemed only natural. I wanted the reader to firmly see everything through her eyes, to like, drown in her POV so that even when you had a sense that things weren’t as they seemed, you still understood her and where her delusion was coming from.

DPA: Why did you choose to set the novel in Los Angeles? 

Personally, I felt Los Angeles most viscerally in moments when the narrator is driving in her car, going on secret, midnight drives to clear her head or sneak off to catch a glimpse of Jenny, in addition to delivering pizzas for work. Something about seeing that car culture really reminded me of Los Angeles, in particular. Not to mention the narrator’s laid-back and chill attitude. I’m curious to know if and how Los Angeles, as a city, with its particular culture and sensibility, made its way into your novel.

JKF: I wanted it to Los Angeles to be this constant, but subtle presence, felt even when it wasn’t being talked about.

Like I love that the city came alive to you in the car scenes. Driving really is so inherent to living in Los Angeles since it’s just so huge, all sprawl, an urban planning nightmare. I’ve always loved that it’s not a typical city, that the very fact of its layout, the lack of a sensible one, showcases the surprise of its development—no one pictured it becoming as big or as populated as it did.

This sort of car culture made it the perfect city to set a pizza delivery novel in. Since you’re driving everywhere, you cover ground quickly (if traffic is chill.) Neighborhoods blend and transform in what can feel like the blink of an eye. Add to the fact that the weather is near perfect year round, it can feel like you’re driving through a surreal, dreamscape.

DPA: I don’t know if you remember but, a few months after you sold your novel, you and I went out to dinner in Morningside Heights. We got Thai and caught-up, and you told me about the night you finished your novel, sending it out to your soon-to-be agent the next morning. Do you mind telling that story?

JKF: Of course I remember! It was a lovely dinner!

Generally, no one wakes up thinking, ‘How am I going to ruin the people I love?’ yet they still find unique and fucked up ways to do so.

So, I’d finished most of novel’s last pages on my mom’s couch over the holiday break (Mom, thanks for those two weeks, sorry I ate all your Hot Pockets). It was my first night back in NYC, though. It was 2:00 AM and I was a little delirious—I couldn’t bear to look at my manuscript anymore so I guessed it was done. I poured myself a glass of this Johnnie Walker Blue I’d been saving for the occasion. My roommate, Evan, came back from a night out. We chatted—“Dude, my novel’s done,” “Dude, that’s sick,” “Yeah,” “Okay, goodnight.” I listened to him pee. I went to bed. The next day, I woke to a dead fly in my unsipped glass of whiskey, ignored the bad omen vibe of that, sent my novel out to a few agents, immediately regretted it. My agent later told me it was one of the worst query letters he’s ever read. Luckily, he still read my novel and even more improbably, liked it.

DPA: I love this crazy, hilarious origin story. But what stands out to me is how Pizza Girl was written with a real urgency, a real fire. Where did urgency come from? Do you think that sense of urgency is important for writers?

JKF: I think it’s important to feel like whatever you’re writing about is urgent in a kind of “I need to talk about this. Can I talk to you about it?” way. But I think, at least for me, it was easy to confuse that pure urgency for the story itself with selfish urgency, a desire to just be published and read ASAP.

I had this misguided goal to sell my first book no later than the age of 25 and it’s almost like I bullied myself—hurry up, you dumb fuck, why isn’t this done yet, why did you even think this was something you could do, you dumb fucking fuck—into completing Pizza Girl. The novel was sold a couple months before my 26th birthday. 

While I think my novel would’ve felt urgent regardless of the amount of pressure I put on myself to finish it since I did and still do genuinely care about the subject matter, I do wish I had been kinder to myself. I don’t know if it would’ve made my novel better, but I don’t think it would’ve made it worse, and I would’ve just felt a lot better day to day. I’m doing my best to practice what I preach as I work on my second novel, and it’s mostly working.

I Am the Faceless Woman on the Cover of Your Novel

POC Book Cover Model

I feel the most brown facing
a solid, bright background
that seduces preteens
at the Scholastic fair. My long
black-as-licorice braids with their
sweet virginal shine beg for
pity, are maybe a metaphor
for tradition, repression, machismo,
all the miserable Mexican girls that need
to be saved from Mexican men.

I’ve portrayed all kinds
of Mexicans: Puerto Ricans,
Guatemalans, Peruvians, and even
a few Chinese. It’s easy when you’re
faceless: all smooth, tan skin
and thick hair, for a few blue
moon romance novels,
a wide set of hips.

Most days are great.
My fiance says I’m effortless
to love, the way I am
modest and mute and not
too dark, how when he presses
his palm to the plane
of my skin, its indent
remains like modeling clay.

Other days, all I know
are the eyes burning
through the back of my head,
and for a sure second, a pair
of my own burning within
it. If I were to tear
away this caramel-colored
membrane to find those
eyes blue and lashes pale or
to find just orificeless pulp,
I might just keep digging.

In my country

the streets are paved in gold-
plated hoops taken out,
tossed aside the night before.
The sea shimmers like glass
shattered out of windshields.

Here, acrylics only come stilettoed.
Here, mamacitas only come mercurial.

In my country, there is no night
without a thousand slashed tires
and there is no morning
without deflated women
asking you to fill them.

Where I’m from, we have no need
for the sun or the moon because
the women are always burning
some cabron’s shit in backyard bonfires.

The women are always burning
and begging to be held,

but don’t all white boys have a bit
of a pyromaniac streak?
And don’t we make you feel brave?
And don’t you think
It’s better that way?

Electric Lit Seeks a Part-Time Assistant Editor for Our Literary Magazines

Electric Literature hosts two weekly literary magazines, Recommended Reading and The Commuter, and seeks one assistant editor who will serve both of these publications. Recommended Reading publishes longform fiction—a mix of original work and excerpts—with personal introductions by top writers. The Commuter publishes brief, diverting flash fiction, poetry, and graphic narratives. With over 540 issues combined, work published in Recommended Reading and The Commuter has been recognized by Best American Stories, Poetry, and Comics, Best Canadian Stories, the Pushcart Prize, the Best of the Small Fictions, and the Wigleaf Top 50. 

The assistant editor will work closely with the editorial teams of both Recommended Reading and The Commuter to execute the following responsibilities.

  • Manage submissions sent through Submittable and assign them to volunteer readers.
  • Evaluate submissions approved by readers and determine if they should be passed on to senior editors.
  • Prepare issues for both magazines in WordPress, which includes selecting images and writing headlines.
  • Prepare weekly newsletters in Mailchimp.
  • Proofread issues.
  • Send contracts to contributing writers.
  • Help prepare grant proposals.

This is an entry level position with significant administrative responsibilities. However, the position offers many opportunities to gain editorial experience by working closely with a small team of experienced editors. The assistant editor will also play a key role in determining which submissions advance to the next round of consideration, and help shape how the work in our magazines is presented.

Qualified candidates will:

  • Be well read in contemporary fiction, including the work of other literary magazines.
  • Be confident in their tastes, while remaining open to the opinions of others.
  • Believe in Electric Literature’s mission to make literature more exciting, relevant, and inclusive.
  • Be organized, patient, and attentive to detail.
  • Be closely familiar with the archives of Recommended Reading and The Commuter
  • Have at least one year of professional editorial experience. Applicants who have gained editorial experience exclusively through internships will be considered; however, they should have at least one year of professional/administrative experience in another field. 
  • Grant writing experience is a plus but not a requirement.
  • An educational background in literature, journalism, or creative writing is preferred, but not required. 

Preferred skills:

  • Mailchimp
  • WordPress
  • Sourcing creative commons images
  • Submittable
  • Copyediting and proofreading

This is a part-time, 12 – 15 hour per week position with a $900 monthly stipend. Remote applicants will be considered, but must be able to work during EST business hours. If the assistant editor is local to NYC, they will be required to come into Electric Literature’s office in downtown Brooklyn when it reopens. However, the ability to come into the office is not a requirement and remote applicants will not be penalized.

To apply, please send the following via Submittable by 11:59PM on Sunday, June 28:

  1. Resume
  2. Cover Letter
  3. Review recent headlines in Recommended Reading and The Commuter and write a headline and dek (aka subhead) for the following story: https://electricliterature.com/neighbors-anthony-tognazzini/