8 Books About Glamorous Messes

We’re living in the height of aspirational glamor. It feels as if every. single. person. on your social media feed is performing their best life at you: “Hey look at me, just casually sipping a Mai Tai on a white sandy beach in Waikiki, not even smiling at the camera because that’s how cool I am.” And the embodiment of that glamorous aspirational life we all want to have is, of course, the Instagram influencer. They’re almost always skinny, beautiful white women documenting their cinematic adventures while looking effortlessly chic at the same time. It’s the life we all want to have, but only the 1% can actually achieve.

But how much work goes into performing these glittering personas? What lies beneath the surface of that Glossier Cloud Paint? What dirt is hidden inside the seam of those Goyard tote bags? And how much of #LivingMyBestLife is real? These eight books unmasks the CoolGirl™ to reveal the mess we knew was there all along.

Social Creature by Tara Isabella Burton

Social Creature by Tara Isabella Burton

Struggling would-be writer Louise both envies and is obsessed with wealthy, beautiful socialite Lavinia, who is in turn obsessed with her persona and image on social media. Eventually Louise’s fascination with Lavinia becomes so overwhelming that she tries to actually become her friend. Ha ha! Fiction!

My Friend Anna

My Friend Anna: The True Story of a Fake Heiress by Rachel DeLoache Williams

We’ve all heard the story of Anna Delvey, the would-be German socialite who gained acceptance into the inner circle of NYC cool kids by seducing them with one-on-one sessions with celebrity personal trainers, meals at fancy French restaurants that cost the average pleb a month’s salary, and five-star vacations abroad. Now Rachel DeLoache Williams, a photo editor at Vanity Fair, has written a tell-all about being betrayed by her “close friend.” Ahh, the irony of finding out that the rich friend you’re leeching off of is actually poor and conning you.

My Sister, the Serial Killer by Oyinkan Braithwaite

My Sister, the Serial Killer by Oyinkan Braithwaite

Ayoola is beautiful, beloved, and magnetic, which may be how she gets away with killing so many of her boyfriends. Or maybe it’s just because her sister Korede is always on call to help her clean up afterwards and stay out of trouble. This dark, funny debut novel was just longlisted for the Booker Prize.

The Robber Bride by Margaret Atwood

The Robber Bride by Margaret Atwood

Even though she’s dead, Roz, Charis, and Tony can’t stop obsessing over their college frenemy Zenia, a charismatic liar who compulsively stole their boyfriends and exploited their trust. After reconnecting at her funeral, they bond over their Zenia-related trauma—and then they find out that her death might be just another one of her scams.

Bunny by Mona Awad

Bunny by Mona Awad

The Bunnies are the rich cool girls at the MFA program at Warren University (a fictional version of Brown). The four young women love Pinkberry frozen yogurt, wearing babydoll dresses, and eating miniature food. Samantha Heather Mackey—an angsty loner scholarship student—is definitely not a Bunny, but she can’t help being drawn to their syrupy sweet performative friendship. When Samantha gets an invitation to the Bunnies’ exclusive Smut Salon, well…it all gets very sinister very fast, especially when live rabbits are used in their performance art piece.

My Year of Rest and Relaxation by Ottessa Moshfegh

My Year of Rest and Relaxation by Ottessa Moshfegh

On the outside, the nameless narrator in My Year of Rest and Relaxation is the quintessential CoolGirl™: Rich! Blonde! Tall! Beautiful! Young! Thin! Well educated! Well dressed! She’s the sort of privileged woman who is fawningly profiled by Vogue while drinking champagne at Soho House. But yet, she feels like a switch has been turned off in her brain. Wallowing in ennui, she decides to get addicted to prescription meds (sound familiar?) and let those drugs put her to sleep for a whole year.

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How to Murder Your Life by Cat Marnell

Before influencers were a thing, Cat Marnell was the internet’s favorite walking meltdown. This frenetic memoir traces her path from privileged prep school girl to New York beauty editor and prescription amphetamine addict—and then towards an uneasy sobriety, which is hard to achieve when your career is built around being a beautiful train wreck.

Sex and Rage by Eve Babitz

Jacaranda Leven is an It Girl who spends her nights in LA at cocaine-fueled bacchanalias in West Hollywood, partying with rock stars and artists. On a drug-fueled haze, she finds herself having a quarter-life crisis about the lack of purpose in her life. At 28, she decides to move away from the glamorous artifice of SoCal to start afresh in New York as a writer.

How Brexit Could Destroy the U.K. Publishing Industry

In his poignant and strikingly insightful novel of 1956, The Lonely Londoners, Samuel Selvon shapes his narrative through the eyes of Caribbean migrants (now commonly referred to as the Windrush generation) upon their arrival to London post-World War II. His Trinidadian characters, having been sold myths of a utopian society—the “motherland”—in which the streets are “paved with gold,” are greeted with a brutal and hostile reception in the capital they now call home. 

The narrator perfectly encapsulates the level of ostracism faced by the migrants, describing the alienation which ensues as a result of British refusal to accept or even tolerate a culture unique to their own. Britain, the narrator writes, is a place divided into “little worlds, and you stay in the world you belong to and you don’t know anything about what happening in the other ones.’’ In just one quote, Selvon manages to voice an anti-multiculturalism rhetoric that is, regrettably, as pertinent now as it was then.

Often scapegoated by both media and political demonization, migrants bear the brunt of a manipulative and antagonistic agenda. As the U.K. is burdened with rising destitution and public service strains, a false narrative has been perpetuated to direct anger towards some of the most stigmatized in society as opposed to those accountable for austerity policies. 

Britain’s systemic racism, its colonial past, and its inflated sense of patriotic pride are all symptoms of a nation haunted by xenophobic ideology.

There is an inextricable link between Brexit and anti-immigration ideology. The demographic of Brexiteers reveals that 81% of people who viewed multiculturalism as a force for ill (and 81% of those who considered immigration in the same light) voted for Brexit. As observed in Hope Not Hate’s “State of Hate 2019” report: “Many who voted to leave the EU on the basis that it would offer greater control over British borders also expected numbers of migrants, not just those from the EU, to return to their countries of origin once the decision had been made to leave the EU—with BAME [Black, Asian and minority ethnic] people often confused with migrants.”

This resurgence of a nationalistic identity and the coinciding bigotry surrounding cultural diversity point to a truth many will vehemently deny: that Britain’s systemic racism, its colonial past, and its inflated sense of patriotic pride are all symptoms of a nation haunted by and ingrained with xenophobic ideology. This ideology has a host of ramifications, from disenfranchisement of immigrants to hate crimes. Less discussed, though, are the more intangible effects on Britain’s culture—like the way that Brexit could undermine British literature and other creative fields.

Brexit and Britain’s subsequent immigration policy under the authority of Priti Patel—the new Home Secretary renowned for her concerning past voting record—may result in a blow to the U.K.’s creative industries, as we are set to lose some of the best talent the world has to offer, including writers.

Postcolonial literature such as Samuel Selvon’s has, among much else, evoked a wider understanding of the specific struggles faced by minorities and simultaneously the universal attributes shared. Without the talent and contribution of migrant writers who challenge cultural hegemony (i.e. the dominant class), our creative industries—specifically publishing—fail to represent an increasingly diverse audience.

Post-Brexit immigration policy presents an unwelcoming, complex process for both prospective international employees and employers alike. The skills-based system that the Home Office intends to strengthen will ironically fail to attract the “best and brightest” talent while annual salary requirements continue to dominate the U.K. visa system. 

In a briefing on Brexit, the Society of Authors argues against the visa salary requirements of £30,000 for long-term migrant workers and £35,000 for indefinite leave to remain: “Authors in the UK earn an average of just £10,500 per year. The proposed threshold therefore does not reflect the ‘skills’ of writers or the cultural sector at large. Salary level is not an appropriate measure of skill or wider contribution to the UK’s social and economic life.” This emphasis on salary failing to represent skill highlights the necessity of reviewing the visa routes and the failure of immigration policy to consider vast cultural benefits—benefits that far exceed financial input. Reducing migrants to their salary not only diminishes their talent but also insults British authors who fall significantly below the warped perception of what it is to be “skilled.” 

Reducing migrants to their salary not only diminishes their talent but also insults British authors.

The Creative Industries Federation similarly challenges immigration policy restrictions and the dismissal of “low-skilled workers,” arguing that many creative leaders “often begin their careers in a freelance capacity while doing casual or low-skilled work to support themselves.” Such “low-skilled” roles can be essential for the likes of freelancers to support themselves as they pursue creative careers. 

However, regardless of economic benefits, migrants add value that cannot be measured by figures on a wage slip. Research conducted by Spread the Word illustrates the vital impact of migrant literature on social integration, suggesting that, ‘Fiction with origins from a diverse community drives understanding and wider cohesion within society’. Multiculturalism brings levels of creativity to our writing industry that cannot be surpassed; with diverse experiences comes a wealth of innovative perspective. 

Without narratives that challenge or differ from the hegemonic experience, post-Brexit literature in the U.K. may be notably deficient. As Mairi Kidd writes in an article on migrant literature for Amnesty: “Unless we have books in which a range of people write their ‘normal’, we don’t have diversity, and the big risk is we don’t have authenticity either.” Literature ought to represent the myriad cultures it addresses. 

For an example of how this can look when done successfully, we can look at Berlin, which has long been a creative center of Europe due in large part to encouraging diversity. Welcoming and embracing migrants from all walks of life—whether that be the more privileged expat or those seeking refuge—Berlin’s creative scene embodies the boundless benefits of coexisting cultures. CUCULA, the Refugees Company for Crafts and Design, is just one example of the remarkable efforts made by Berlin’s creative industries to both include and actively recognize the talent of migrants. Organizations such as CUCULA are the reason why the globalization of the city has been deemed “intrinsic to its cultural explosion,” with Kam Dhillon writing in 2017 that its “local economy owes a lot to a buzz engineered entirely by the diversity of its creative class.” With cities such as Berlin reaping the benefits of diversified industries, London’s creative scene seems set to appear archaic in comparison. 

Without narratives that challenge or differ from the hegemonic experience, post-Brexit literature in the U.K. may be notably deficient.

European migrants applying for British citizenship are now discovering the brutal process that non-EU/EEA individuals face and fears have been voiced surrounding the consequences a strained relationship with Europe may have on publishing. The EU account for 36% of all U.K. book exports, a crucial component in the success and outreach of our literature. 

As the Society of Authors briefing warns, “Should the current prohibitive visa system be applied to EU nationals, it is certain that European authors and other artists will be deterred from visiting the UK, leading to a significant drain of talent at our literary and cultural festivals.” 

What is to prevent Europe from reciprocating such hostility? U.K. authors may fall victim to the repercussions of an acrimonious divorce, seeing limitations introduced for travel throughout Europe—something vital for both translators and author research. 

If we wish to inspire future generations to embrace and value creative work, we must preserve the attributes that have historically seen the U.K. upheld as a cultural hub of talent. This means continuing to produce literature rich in diverse voices. We must not regress to the not-too-distant past and allow a rebirth of that familiar British literary canon which privileges the exclusionary narrative of white, middle-class, cisgender individuals.  

Our publishing industry both craves and is nurtured by the exceptional talent of those creatives who subvert the dominant narrative. If we wish to keep our place at the table, we must exterminate the current epidemic of vermin spreading through the veins of the nation and maintain that our country is strictly no place for xenophobic ideology. 

Holly Barrow is a political correspondant for the Immigration Advice Service, a team of lawyers offering support for immigrants in the U.K.

10 Books About Being Queer in a Country Where It’s Illegal

LGBTQ rights have suffered some recent setbacks in the U.S., but from a legal perspective, at least, it’s still one of the best times in recent history to be queer in this country. Gay marriage is legal at the federal level. Sodomy laws have been ruled unconstitutional since 2003, following the landmark decision in Lawrence v. Texas. Non-binary gender markers are now accepted in 11 U.S. states. It could be harder—and in 70 other countries, it is.

According to the International Lesbian, Gay, Bisexual, Trans and Intersex Association (ILGA), there are currently 70 United Nations member states that criminalize homosexuality, with punishments ranging from whipping in Malaysia to the death penalty in Iran. These governmental restrictions are obvious violations of human rights, seeking to police not only sexual activity but identity and self-expression. But, as the characters in these nine books prove, an unjust law isn’t enough to change who you are. Each of these books, both fiction and nonfiction, is about living in a country where being queer is either technically illegal or actively prosecuted—and the heartbreak, danger, and triumph that can follow when you do it anyway. 

Under the Udala Trees

Under the Udala Trees by Chinelo Okparanta

In Chinelo Okparanta’s debut novel, Under the Udala Trees, Nigeria ruptures in civil war, causing 11-year-old Ijeoma’s life to fall to turmoil when her father dies. Sent off to work, Ijeoma meets Amina and falls in love, despite the threat of persecution from her mother. With all the political unrest and deception around her, it’s a constant struggle between safety and truth while remaining herself.

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In the Spider’s Room by Muhammad Abdelnabi, translated by Jonathan Wright

Set in Cairo, Egypt, In the Spider’s Room follows Hani during the Queen Boat trials, where 52 gay men were arrested on the Queen Boat, a floating disco club on the Nile. After seven months of legal onslaught, Hani is declared innocent but left speechless due to the emotional trauma. He documents his life thereafter, from his familial relationships to the love of his life and what it meant to be targeted and in danger of imprisonment as part of Egypt’s gay community.

Patsy

Patsy by Nicole Dennis-Benn

A story of motherhood, Patsy evokes the truth of our deepest selves. When Patsy chooses to leave Jamaica and immigrate to the United States, she realizes things are not what she had hoped. Rekindling her past love and starting anew seems more and more difficult, especially as across the ocean, her young daughter Tru is confronted with her mother’s choice to leave her behind to love freely. But when Tru questions her own sexuality and identity, she begins to understand her mother more than she anticipated.

Salvation Army by Abdellah Taïa, translated by Frank Stock

Recognized as Morocco’s first openly gay man, Abdullah Taïa portrays a coming-of-age that moves through his ordered childhood to his sexual exploration in Tangier to his adult life studying in Geneva. Throughout this autobiography, Taïa grapples with the memories of living openly in a body that is a crime.

SQ21: Singapore Queers in the 21st Century by Ng Yi-Sheng

Although it’s rarely enforced, a colonial-era penal code criminalizes sex between men in Singapore. Together with photographer Alphonsus Lee, Ng Yi-Sheng highlights the everyday lives of 15 LGBTQ+ Singaporeans. From a polyamorous student to a mother of queer sons, this collection of real stories is an inspirational account of people celebrating their bodies and selves in a country that refuses to recognize them.

Lives of Great Men by Chike Frankie Edozien

Lives of Great Men is not solely a memoir about Nigerian journalist Chike Frankie Edozien; the book is a tribute to the queer Africans living their love in political hardship. Moving through Lagos to the United States to Ghana and France, Edozien portrays the lives of men and women who are trying to maintain hope under a political discord that threatens their lives with imprisonment up to 14 years, police extortion, and even death by stoning.

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The Greatest Films: A Poem by Faizal Deen

Author of Guyana’s first LGBTQ+ poetry collection, Faizal Deen has now published two books working with gay culture and identity. His most recent book, The Greatest Films, is one long poem inspired by 20th century film and hybridity and delves into queer Caribbean Islamic identity. Deen moves through his history of living as an Indo-Guyanese Canadian man with a disjointed past to create a complete work of spliced images—a cinematic collision.

The Hungry Ghosts

The Hungry Ghosts by Shyam Selvadurai

In The Hungry Ghosts, after learning of his dying grandmother, Shivan Rassiah travels back to war-torn Sri Lanka from Canada, where he had fled during his teenage years to find safety and acceptance. While preparing to bring his grandmother back to Toronto for her final days, Shivan is confronted with memories of their tumultuous relationship, while growing up gay, and the trapped ghosts that are as ravenous and haunting as ever.

We Have Always Been Here

We Have Always Been Here: A Queer Muslim Memoir by Samra Habib

We Have Always Been Here is a heartrending, honest chronicle of writer and photographer Samra Habib’s life as an Ahmadi Muslim in Pakistan. Growing up, Habib faced countless familial and cultural pressures that policed her body along with threats of violence from religious extremists who were against her sect of Islam. After moving with her family to Canada as refugees, Habib has to reckon with racism and homophobia—causing her to fight for truth and power along the way to self-discovery. 

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98 Wounds by Justin Chin

Poet and artist Justin Chin was born in Malaysia and grew up in Singapore before moving to the United States. His short stories explore the complex and emotionally unsettling lives of queer people. His first and only book of prose, 98 Wounds invites readers into a dizzying world constantly searching for identity and love. Said best in his work: “Come inside. You don’t have to prove anything here.” This was the last book Chin published before he passed away in 2015.

Writing About Mental Illness from the Inside

Within the first week it was published, Bassey Ikpi’s essay collection I’m Telling the Truth, but I’m Lying, a collection of personal essays illuminating and encapsulating the experience of having mental illness, hit the New York Times bestseller list. What Ikpi depicts in I’m Telling the Truth is a state of fragments and intense emotions, the feeling of something cataclysmic simultaneously with the deep desire to escape.

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In her collection, and in her background as a poet who has toured with Def Poetry Jam, the language and rhythm of Ikpi’s work intensifies the reading experience and reveals a way to discuss memory—not always reliable—and storytelling in a way that’s immersive, constructive, and always breathtaking. 

I spoke with Ikpi—a mental health advocate and former poet (as she calls herself)—about her experiences living with bipolar disorder and how to write from a personal truth for the Minorities in Publishing podcast, from which this interview is excerpted and slightly modified. 


Jennifer Baker: What really hooked me was the first essay where you say you need to prove that “I had a childhood.” I thought about this need to prove upfront, and the word you use is “broken,” specifically. There’s something very specific you want to say even going through the act of childhood. So, when you’re starting out, how did that come to pass?

Bassey Ikpi: I think as much as I wrote this book for the world, I wrote it for myself as well. I am very clear in this book that I don’t have the most reliable memory. One of the things that people don’t understand or don’t discuss a lot about mental health is how it affects your memory. 

A lot of the things I remember I remember in sporadic bursts, and there are chunks of childhood I don’t remember, and if I do remember I don’t know where exactly they fit. Was I four, was I eight? Four and eight seem to be the two years that jump out at me, knowing that I could have been three, I could have been nine, I could have been all these different ages, but for some reason 1984, the time before I came to the United States, those are the ages that I came from. So, it was more to prove to myself that I came from something. I’m not just these recent memories. 

I needed to tell myself and I needed to tell the world that all these recent stories aren’t where I started from.

I started writing this book three years ago when I was in one of the worst depressive episodes of my entire life. And I didn’t think I was going to make it out, I’ll be perfectly honest with you. And I needed to remind myself that I came from something else. All of my memories were of that one time I had the breakdown, the time I was depressed, the time when not great things happened. I needed to tell myself and I needed to tell the world that all these recent stories aren’t where I started from. I wasn’t—and this is going to sound corny because now I know it’s a Whitney Houston lyric—I wasn’t built to break. I was this perfectly innocent child who just existed and had this history and people who cared about me. It wasn’t the most conventional upbringing, but it was mine, and there was nothing wrong with it at the time. 

JB: I really do appreciate you talking about that because it just stuck in my mind that there’s this need to prove something to us, but your explanation makes so much sense. 

I appreciate the fragmented nature [of the book], because I feel like I think about things in fragmented ways because it’s hard to pin down things after a while when you collect so much. As we get older, we collect a lot of information, theoretically. In one essay you spoke about the Challenger [disaster]—and I said, yeah when was that?

BI: I discovered just a couple weeks ago. I was reading something about the Mandela Effect, and I read that people have the Mandela effect when it comes to the Challenger. They don’t know what year it was—and I didn’t know that was a thing! I thought that I was just unable to place it, but yeah, people have no idea when that happened. 

JB: But I also really love [this book] from the standpoint of teaching because that’s usually the concern writers have is “I don’t remember everything exactly.” And you come at this consistently saying “I think it’s this, and this, and this.” Even the essay where it’s “We were in Brooklyn or Chicago. We were in one of these places, I’m not sure.” There is such a confidence in being able to say this is going to be fragmented.

BI: I read books that tell you how to write a memoir or instructions or whatever, they always start with: if you have a bad memory, don’t write one. And I just don’t think that’s fair. I don’t think that memory exists the way we’ve been taught to think that it exists. So many of the memoir and autobiographical things we read, they couldn’t possibly be memories, they just couldn’t possibly. 

They’re not lying, I’m not lying, but it’s not the same truth, you know. 

But I think that people kind of give that some room, and say, well okay we’ll just smudge this. But I wanted to be very clear, especially because these are memories that involve other people, that this is my perspective, this is what I’m seeing, this is how it felt from where I am. And I know that because of these other things that went on in my head and went on in my life, I’m aware that it’s not going to be the same conversation, that if you asked my mom and my ex-boyfriend, that they probably wouldn’t see it the same way. 

They’re not lying, I’m not lying, but it’s not the same truth, you know. 

JB: I think that’s why part of why I latched onto this so much, because I felt as though this is one of the most honest pieces I’ve read. And because it’s gonna be what I can produce based on what is tangible in my mind right now. 

BI: The things that I do remember I remember so vividly, and I tried in the writing to be clear, like “I remember this part,” “This part. I remember.”

And the stuff that came around it, what day it was, who was there, did I scream, did I yell, you know all that stuff. I don’t know, but I know I felt that way. And the emotional honesty, and the emotional truth, and the emotional memories I think are just as valid, even if they don’t appear that way to somebody who was in the moment with me. 

JB: Did you choose to talk to a lot of the people in the book?

BI: I didn’t. And I was very deliberate about not researching it because I figured if I were to go into it—I mean there were certain things that I would call somebody and say hey.  There was Derrick whose name I didn’t change because he told me not to change his name. 

JB: Really?

I was very deliberate about the fact that these are nonfiction short stories as opposed to essays.

BI: I called him and I asked him if it was a kettle or if I broke a mug, and I thought that was important to know—and once I asked him, I said “Oh my god, I do remember,” and I could smell the smoke, and I was in my… I needed that to tell the story. But as far as whether we were in Brooklyn or in Chicago, I didn’t feel that was necessary to know. I felt like that confusion, that displacement was important, especially when it comes to other essays, especially the touring essays when I was with Def Poetry. That confusion about where I was and what I was doing was necessary to tell the story, but I didn’t want to research it. I didn’t want to turn it into a research project because that to me would be a different book. That would be a book that—and I struggled with this too—a book that needed statistics and facts, and a list of medical journals, and that was just not the type of thing I was doing. I was very deliberate about the fact that these are nonfiction short stories as opposed to essays. And the idea of it being an essay versus short story, is that a short story exists. You’re allowed to write it, and it exists the way that it exists and you can move onto the next thing. Whereas with essays, I feel like they need that research and they need all these facts to hold it down and I didn’t want it to be that kind of thing. 

JB: Can we get into how the book came to fruition? Was it a proposal? Was it a completed book at that point?

BI: It was a proposal, but the funniest thing is it isn’t the book that I wrote. It had a different title, it had a different objective. It was a totally different book. It was still essays, but it was more self-help-y. Even the title—it was very much like “From the mountain top. Let me tell you people how I got to where I am.” 

JB: Was that the title? “From the Mountain Top”? 

BI: No. It was called Making Friends With Giants. It was this very self-help, very [much] telling the story of how I got “over”; and I was in the middle of, there was no “over.” It was full of lies, which is why this title was very important to me, because it was full of lies. It was the truth, but it wasn’t an emotional truth. It was very, very dishonest in that way. And I had a list of things that I didn’t want to talk about, and things that I wasn’t going to write about. And I wasn’t going to say this. And I wasn’t going to say that. I wanted it to be very inspirational, and gross, like Fix My Life, no, not that bad. 

It was a totally different book. It was more self-help-y. I wanted it to be very inspirational, and gross.

JB: Not Iyanla level. 

BI: No, but pretty much very distant from the subject matter. Like I had cured myself or something, and I was going to tell people how I did it. It just was false. It was difficult to write. This, I started writing earnestly a year ago. Because I remember around this time the university that I dropped out of gave me an office. And I was on the floor well into the night writing and cutting and pasting, and trying to put these essays together. 

But for three years there was another book that I was trying to write, and it was going very, very slow. It wasn’t coming out the way that I wanted. I would take all of these writing sabbaticals and go away for six weeks, and go to a retreat somewhere and I just wasn’t writing. And I realized I wasn’t writing because I wasn’t being honest and it was forced. 

I told my editor that I needed some room to write differently, from different perspectives and POVs. I said let me just go ahead and write it the way it comes out, and I’ll go back and change all the pronouns to I’s and me’s. And once I did that it was so freeing because I was in the middle of it. I was inside of the things that I was writing about, as opposed to the outside looking in. And once I entered them and realized I was in this vantage point where I could explain to people what this thing felt like as opposed to telling them what it felt like for me at the time. I wanted to really bring people inside, and once I did that it just opened things up completely for me. 

JB: Because it was originally self-help and inspirational, did that come about through a conversation of “Oh, this is what people want. People want inspiration, so I guess I can write about that”?

BI: Yeah. It’s the thing that comes with being a mental health advocate. It’s the thing that comes with knowing that people for years would email me, or later on tweet me or DM me and ask, you know “my son is this, and I want to talk to him about that,” and “I’m feeling this way, but I’m not sure if…” And I’m talking, and being very sincere about what it is I’m saying and what it is I want for other people, but I wasn’t internalizing that. I felt that that’s what people wanted. People don’t want to hear the sob story, especially not from a Black woman. I was very, very aware of that. I didn’t think that that’s what people wanted from me. The dark—ugh, I hate the word dark, but you know what I mean. 

JB: They wanted the caregiver Blackness, not the real Black woman. 

BI: Exactly. Exactly. And I was trying to write it from that point and it just wasn’t working. 

JB: So once it became freeing, did you think about what was coming out [in the writing]? Was there kind of that fear of, if I’m going to this place and if I’m taking that turn, I actually have to talk about a lot of stuff, potentially. 

I learned so much about myself writing this book. This book has changed my life.

BI: I learned so much about myself writing this book. This book has changed my life. My therapist said “you are a much different person. You see yourself much differently than when we started working together four years ago.” 

As much as it did free me in a way, I’m also very careful to know that these aren’t just my stories. These aren’t my stories to tell, so I try to tell it from my perspective as much as possible. There are versions and drafts where I’m like “Well his dad had multiple mental illnesses and this is the only way he knew how to relate to people,” and I had all of that in there, but that’s not my story. I can’t talk about somebody else’s family, and I can’t talk about what I suspect happened in my own family because I don’t know. I can only say what I suspect and how those suspicions interact with how I was exposed to those people that showed up in my life. 

I wanted to be very careful about that because I wasn’t interested in—and again, being a Black woman—white people can kind of just blow up their lives and be rewarded for it, and I had no interest in blowing up my life because I love my family and I love my friends sincerely, but I had to be honest, and I had to find that balance. That balance was to focus as much as possible on where I was, and to check myself, and to have other people who read the work be very clear that I’m not just a victim of other people.

Schrödinger’s Cat, But for Marriage

“Can a Cat”
by Olivia Parkes

My husband and I were talking about whether cats could, in fact, survive falling from great heights, or if this was a myth—just one of the eight extra lives attributed to felines—when an actual cat crashed onto the table beside us. We were eating lunch outside at the Greek restaurant in town, a few weeks into the fall semester at the small college where my husband taught geology and I haunted the library stacks, theoretically finishing my PhD about the significance of bells in village life. We looked up; we looked at each other. Shame flickered across his face and I remembered something he’d said to me once when we were drunk at someone else’s wedding. I am just a reflection of you. 

Luckily, or as fate would have it—whichever was actually in charge—the table the cat had struck was empty. Its four chairs, tipped in and chained together, looked unsurprised by what had just happened, and within moments I too felt the shock leech out of me. Reality has everything on such a short leash. You wander off, weaving your fantasies, and with a quick jerk, there you are: at lunch with a man you no longer recognize, presented with a circumstance that will settle the argument you have been having for the last ten minutes, or maybe for the last ten years, in someone’s irrevocable favor. 

The only other guests on the patio were a family of three, a lanky teen with a widow’s peak and a pale, rumpled couple who could only be his parents. They were staring at the still, soft body of the tabby with a kind of polite aversion, as if they had ordered it by mistake and would now be required to eat it. Before any of us moved, the cat’s tail whipped straight up and quivered. At this the woman launched a protective arm across her son, letting out a tentative scream. The boy caught my eye and blushed. I tensed in my seat, worried I was required to scream next. But before I could summon some false and dreadful feeling the cat began to seize, jerking so violently that the metal chairs rattled their chains. Its stiff legs beat the table and I saw that it had been declawed. Finally, the animal was still, and the waitress, who had come running at the sound and stood in the doorway with a hand clasped to her mouth, approached.

“It’s dead,” she announced shakily. My husband and I locked eyes and I watched his face undergo a brief turmoil before closing like a door. 

I could not say exactly what had happened between us—only that at some point we had entered into an argument about reality. One evening last fall, I had extended a plastic spatula to him, oily with baba ghanoush, and he looked at me like I was trying to kill him. “I’m allergic to eggplant,” he said. 

I could not say exactly what had happened between us—only that at some point we had entered into an argument about reality.

“No you’re not,” I countered, my mind scanning back to all the times we had consumed the innocent vegetable together. He explained that it gave him migraines. It is true that in all the time I have known him, my husband has suffered from sudden and debilitating headaches. Early on, it was part of his mystique. He was prey to an unknowable force that could strike at any time, to auras and undoing. “Since when?” I asked. 

“Since forever,” he said, and we entered that phase of a relationship where it becomes necessary to strip the other person of their illusions, the kind of petty looting that precedes an imminent breakdown of social order. Later, I began to doubt that the migraines were real at all. Love is like a magic trick. If you do not believe, the magic is gone and only the trick remains. 

“Where the hell did it come from?” The waitress asked. She looked up at the poker-faced sky, and then, it seemed, directly at me. 

The idea that our marital strife could have made a cat fall from the sky, though fantastic, was weirdly in keeping with my research, or at least with the wispy thought of the New Age gurus it had led me to on YouTube. Bells were once believed to have powers beyond calling a congregation and keeping time; they could attract saints and repel storms, their sound a mediator that embodied divine power on earth. An inquiry into the power of sound had led me, late at night, to the power of vibration. Nobody believed in bells anymore, but apparently now we were ringing, or being rung, emitting a constant if inaudible call to fate. In this way it is said that we attract our each and every circumstance like an asteroid acquires mass, before combusting in some other atmosphere. I did not know what I believed—only that the cowardly and increasingly unreal nature of our discord was having a violent effect.  

For months now, our conversations had favored the hypothetical or speculative. The positions we took, hasty and ill-informed, allowed us to argue with careless violence, and the most impersonal subjects incited increasingly personal arguments. 

If you had to be a criminal, I had asked last night, what kind of criminal would you be? 

A burglar, he said instantly. I would break into houses in the dead of night. 

With practice I have found a way of speaking through almost imperceptible noises and expressions, so that sometimes my husband is able to have the entire conversation with himself. 

What? That’s greed? I wouldn’t even have to take anything. I would be happy just moving things around. 

It’s not creepy! It could be a kind of service. Help people see things in a new light. 

What do you mean “You can’t be a good bad man?” Like, that’s not an option? That’s not on your menu? 

Oh. And who are you to say if I have what it takes to make a graceful entry?

We had not had sex since May. When he asked what I would be, I said that I would be an arsonist, and in that moment it had seemed not only possible but likely that he would rob our home to prove a point and I would burn it down.

But lunch today was supposed to patch things up, and I had been treading gingerly. Time, I sensed, was running out. My husband had taken up woodworking—he a man who had never been able to so much as assemble IKEA furniture—and we were in danger of becoming different people entirely. The cat question had seemed safe, even innocent. We had never owned a cat, and neither of us had ever lived higher than the third floor. But when I suggested that a cat probably could not survive a massive fall better than say, a man or a fish or a dog, he had put his fork down like it was something he would never need again. With a professor’s delight in disquisition, he began explaining the aerial righting reflex, a feline’s instinct for sensing which way is down, which allows them to twist their bodies like a gymnast or an astronaut and position their feet beneath them for landing. He spoke crisply and used his hands. Only the last word—a thing we both wanted badly—was lost to the crash.

I opened my mouth to speak, but a noise came from the cat instead, a harsh rattle that had to be called breathing. The animal’s whole chest rose and fell like a bellows. “It’s dying,” the waitress said, but she no longer sounded sure. We watched, horrified, as the cat righted itself and stood swaying, a little blood coming from its mouth. 

And then, almost as quickly as it had happened, it was over. The boy’s mother stood up and lifted the animal to her chest, where it hissed and flexed a clawless paw. She asked the waitress for directions to the nearest animal hospital, and within minutes all four of them were gone. 


That evening I prepared dinner while my husband put the finishing touches on the gate he’d been making for the front of the house. We lived in a sagging wood-frame on a street populated mostly by students and made a steady effort to distinguish ourselves from them and their yearly churn, to appear somehow more permanent. I put music on and laid the table the way I only did for guests, with placemats and cloth napkins. Dressing the table always felt like making the bed right before you slept in it, but tonight I wanted a little ceremony. The cat, which might have decided things, was alive or dead, or alive and dead at the same time. I needed to take matters into my own hands. Terrible things happened when people lived together telling different stories. In my research I had come across a battle that had taken place in a small town in rural France over whether or not the bell should be rung during thunderstorms, half the town taking the position that ringing the bell would cause the storm to subside, and the other that it generally made things worse. The argument grew so fevered and intense that the two sides eventually annihilated each other, and that was the end of village life. 

Terrible things happened when people lived together telling different stories.

I dug the wick out of the only candle I could find, a citronella left over from the long buggy summer. I cupped my hand to shelter the match, and as I lifted it my husband came in from outdoors. 

“Wow,” he said. “What’s all this?” We smiled at each other across the room.

 “I haven’t cooked in a while,” I said. He moved past me to the sink and turned the faucet on to wash his hands. “How’s it going out there?” I asked. 

“Looking good,” he said. “The paint should be dry by morning.”

“And are all the sheep penned in for the night?” I asked. “And the chickens and the horse and the cows?” A look of faint surprise that bordered on pain crossed his face, as if he had run the water too hot, and for a moment he looked years younger, like the gawky undergrad I had met over a decade ago. The farm had been the kind of earnest joke that forged our early courtship. One winter night in my dorm room he had crossed his arms behind his head and asked my ceiling: did I think this was the time and place—a waking hour borrowed after midnight, in bed—that partners made the difficult decisions about their life together, where they had the conversations that gave it shape? 

Like what? I asked. Like, should we sell the farm? Exactly, he said. And when after some thought I told him no: we should keep the farm and sell the thresher and lay down five non-GMO varieties of criollo corn, I was telling the truth. That was the difference between then and now. In those days, when the hypothetical was still a place we could tend and labor with hope of harvest, we were telling the truth—and we believed each other. Once, people had believed in bells. The sound of the village bell warned off calamities and accompanied wishes, as well as the souls of the dead. It made the imperceptible audible and perceivable and bound the beating heart of people who lived together into a daily rhythm—until its power became first a question and then a contest, and finally something that no one believed in at all.

Standing now at the sink my husband’s ears reddened, and it occurred to me that he thought I was mocking him. The thought produced a sudden pain so slim and sharp that I reached out and touched his shoulder, as if I could pierce the slime that had solidified between us like something in a drain. He coughed, shaking off my hand. “I’ve installed a digital lock above the latch,” he said. “You have to enter a code to get in.” 

He moved jerkily to the table and sat down, unfolding the napkin in his lap, which was printed for some reason with martini glasses. A smile tightened the corners of his mouth. “What is this?” he said again when I lifted the lid on the serving dish. The heavy ceramic dish was shaped like a duck and had been a wedding present. It was, like almost all the kitchenware we had received, intended for “entertaining.” Such items required washing by hand or the kind of conditioning treatments that I reserved annually for my hair. In the first year of our marriage I had opened the dishwasher on a load of crystal flutes and discovered it full of sparkling shards of glass. This, at the time, had seemed like permission, and I had cried and cried. My husband had comforted me down on the tiles and ordered a sturdy set of tumblers online. He was staring now at the eggplant parmigiana in the dish like it was his own liver. “You know I can’t eat that,” he said. 

“But I don’t know that,” I said. “I don’t know anything anymore. That’s the problem.” Would he eat? I willed him to come back to me, to mend the original rupture so that we could reenter a common reality. We stared at each other and I ferried a spoonful to my plate. “Is it ok if I start?” I asked. 

He stood, knocking the table, and the candle flickered. “Fine,” he said. “Fine—if this is what you want.” He wiped a finger across my plate and sucked it, his eyes bulging. And then he was tearing into the duck’s back with a serving spoon, shoveling the cheesy eggplant into his mouth. I watched him like a man might watch a pregnant woman eating coal, with a mixture of fear and respect, disgust and gratitude. “There,” he said. Sweat stood out in pinpricks on his brow. He did look for a minute as if he was about to be sick. He wiped his mouth and tossed the oily napkin on the floor. For a long moment he stood swaying, and then he left the room. I heard the scrape of car keys in the bowl, the catch and slam of the front door. The car started in the driveway and the lights blazed for a moment fiercely into the room, and he was gone. 

All evening I waited for him to come home. When he did not I went to bed and prepared for sleep with my usual defenses: ear plugs, eye mask, and mouthguard. You could hear the students moving at night like raccoons, depositing and removing half-dead furniture from where it languished near the bins. Already I could hear them passing in twos and threes, laughs or scraps of conversation piercing the thin purple night. There was a full moon and the light falling across my bed made me shiver, alert to every noise. The voices intensified in quantity and pitch until it seemed as if a crowd had gathered outside my window. Music began to throb like it was playing in the house and the house was my head. I ground my earplugs into my ears to no avail. Finally, I went to the window and wrenched it open. A group of students had spilled out onto the porch and sidewalk of the house across the street. I shoved my head out and yelled, “Can you please turn that down?” 

“What?” one of the boys shouted up at me. 

“I said can you please turn that down.” The others gestured amiably with beers, a mix between a shrug and an invitation. 

Downstairs everything was as I had left it. My husband’s plate remained pristine. I found the front door unlocked and slightly ajar. Outside, I saw that he had finished the gate with a coat of bright red lacquer. It stood beneath the full moon like an actor about to begin. Everything else seemed leached of color as if the fragile scenery was sinking under water. The latch clicked shut behind me. I crossed the street and drifted into the party in my nightgown. Someone gave me a beer. “Hey,” he said. “That was pretty wild today.” It was the boy from the Greek restaurant. I felt the same zing of surprise as when the cat had struck the table, the same brief, electric feeling of contact with something like fate. This was the moment in which everything could be decided.

“What happened to that cat?” I asked. 

“It died,” the boy said. “We drove around for twenty minutes looking for the vet and couldn’t find one. I think it was dead for most of the drive, or maybe even from the moment it hit the table, but my mom was really freaking out. She thinks it’s a sign that I shouldn’t go here.”

I didn’t bother telling him that it was my cat, my sign—that he could go to school where he wanted. The cresting wave of adrenaline in my chest made me briefly giddy and I grabbed his arm with my free hand to steady myself. I had won! His bare arm was surprisingly thin and cold, like a branch encased in frost. He rolled his forearm gently in my grip, and I stumbled closer. He was blushing again, and I willed him recklessly to kiss me. I felt at that moment that I could make anything happen. His eyes dropped to my hand. 

“Do you think you’re still allergic to an animal if it’s dead?” he asked. I looked down and saw that his skin was mottled with hives. My euphoria turned and paled, sickening to anxiety. I saw my husband driving too fast down the windy two-lane highway that connected our town to others like it, a stream of head and tail lights running like Chinese dragons in his addled vision. I saw him sick and being tended by our waitress at lunch, who had noted his allergy in her pad with the reverential solemnity of a funeral director. Even if the things you fought about were fake, the stakes were real. Standing in my nightdress with a teenage boy who did not want to kiss me, the origin of our disagreement seemed distant and impossibly small, a point on a timeline that would never have been plotted if not for the disaster that followed. It did not take a storm to destroy a village when people were perfectly happy to do it themselves. I saw the front door standing open, the candle left burning in an empty house.

It did not take a storm to destroy a village when people were perfectly happy to do it themselves.

I released the boy’s arm. My hand fluttered to my temple, where my fingers found the eye-mask strapped to my forehead like another, calmer face. “Hey—are you OK?” he said. 

“I have to go,” I said.

The night was damp and electric. The gate would not open and I stared blindly at the complacent red eye of the keypad on the digital lock before tucking my nightgown up between my legs and hoisting myself over. I heard a rip and felt a sharp pain on my left leg. Almost immediately the device began to beep a baleful alert. Inside, things looked both familiar and unfamiliar. The cushions on the sofa seemed to have been rearranged. A Bix Beiderbecke record I did not know we owned lay on top of its sleeve on the credenza. I plunged a finger into the soil of the snake plant which looked darker, as if it had been freshly watered. In the dining room, the candle guttered in a pool of wax sheltered by high, curling sides.

“Michael,” I shouted, like his name was a spell that would bring him back. We had avoided addressing one another lately by name, as if as long as we failed to say them aloud the mess we were making of our lives might be nothing but a terrible play. I climbed the stairs to our bedroom, half-believing I would find him there asleep. There would be an empty glass with a white cast of powdered aspirin on his bedside table. But there was not. I had left the window open and the curtains sucked in and out. Suddenly I was cold and very tired. My leg hurt, and I saw that I was bleeding. At the sight of my own blood I realized that the alarm I’d set off on the gate had stopped bleating. The silence magnified the sounds in the house, or was the house my head? I could no longer hear the party. Instead: a creak on the stair. 

“Michael?” I said. My heart beat a note of joy and two of fear, a tune that made me step towards the open window. The yard below was wet, tangled, alien. It did not belong to anybody. I put a knee up on the ledge and hoisted myself. A step sounded firmly upon a stair. Anyone might enter on a night like this, I thought. It might be Michael or an uninvited stranger, or the stranger I had incautiously invited. I would not know until I saw him if he meant me harm. I gauged the distance to the grass below and wondered if there was a difference if the cat fell or the cat jumped. Fate is powerful but so is intention. It is possible that they are head and tail to each other: a snake consuming itself, a tossed coin turning in the air. The future is a palm clapped down upon it and we can only wait and watch it lift. I was ready for whatever entered, poised, depending on the face I saw, to jump.

“Bunny” Shows MFA Programs for the Dark Horror They Truly Are

If you’ve ever entertained dark fantasies about what really goes on at exclusive MFA programs, Bunny will fulfill your wildest dreams. If you’ve attended an MFA program and had a positive experience—as author Mona Awad did—the book will still blow your mind, though perhaps in a different direction. If you have no interest in MFA programs, Bunny will still—you see what I’m getting at.

Bunny by Mona Awad
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Mona Awad’s critically acclaimed first novel, 13 Ways of Looking at Fat Girl, deals incisively with body image, self-worth, and womanhood in a series of thirteen vignettes. Her sophomore novel, Bunny, also grapples with alienation, but in a wholly different direction.

Bunny follows writer Samantha Heather “Smackie” Mackey through the second year of her MFA program at the elite Warren University. Initially, Samantha despises her cohort—four A-line-dress-wearing, “proem”-writing, Heathcliff-worshipping, upper-class women she nicknames “the Bunnies.” Her only friend, Ava—a cynical, goth-leaning artist (“dark clothes, her veil, her mesh-covered fingers gripping a cigarette like she could easily take out an eye with it”)—is the Bunnies’ antithesis. But slowly, Samantha falls away from Ava as she becomes sucked into the Bunnies’ cloying world of smut salons, mystery pills, and private, mystical gatherings they call “workshops.” The novel twists from familiar campus realism to a dark fairytale, all the while traversing the emotional highs and lows of the writing process.

A veteran of academe herself, Mona Awad has attended Brown University, the University of Edinburgh, and the University of Denver, earning her MFA in fiction, MScR in English, and Ph.D. in Creative Writing and English Literature, respectively. I normally don’t inquire too deeply about autofictional elements of anything, but I did speculate on what academic experiences may or may not have inspired Bunny’s comic horrors. And while I never attended an MFA program, Bunny still resonated with my own academic experiences: I’ve spent plenty of time watching more intellectually secure and/or better-dressed classmates clique together. I’ve always regretted my lack of invitation to secret smut salons.

Over the phone, Mona Awad and I discussed writer’s block, fairy tales, and—surely relevant to all Electric Lit readers—the frenzied coupling of terror and euphoria that comes with a creative imagination.


Deirdre Coyle: A meta-narrative runs through the novel about Samantha having writer’s block. Did you experience dry spells while working on Bunny?

Mona Awad: Oddly, no. My first book took a long time, about six years, stopping and starting. But Bunny, when I got the idea, I just kind of went with it, and I finished a first draft in three months. The story did unfold pretty organically for me, which was, given the subject matter, probably a little surprising to hear. But it’s not that I haven’t experienced writer’s block, I certainly have. The terrible thing about writer’s block, of course, is that you never really know what’s going to get you out of it. The creative writing process, and the creative process in general, is mysterious that way. There are no guarantees, so it can be a very terrifying space to occupy. I think that’s part of what generates the unease and the uncertainty, and even the horror, in the book.

DC: The speculative reveal in Bunny—when Samantha becomes aware that the Bunnies are literally practicing a kind of witchcraft—happens after we’ve already seen a lot of horror realism about writer’s block, cliques, and assholes generally. Did you always know you wanted Bunny to take a speculative turn, or did that happen as you were writing?

MA: Oh, I always knew, from the very beginning. Because I was drawing, in part, from fairy tales. And there were things about the creative process that I wanted to literalize: the idea of darlings, and killing your darlings, and the very, very complicated and often violent relationship that creators can have with their creations. The fear and the wonder and all the emotions around it—there’s just so many. It’s so ripe. To me, there is something magical about the creative process, so mysterious, and the speculative felt like it was an absolutely natural turn for the narrative to take. Fairy tales engage those feelings of wonder, too, and there’s always the possibility of transformation in a fairy tale. I thought in a book about creativity, “fairy tale” seemed like the right direction to go in. Magic was there from the very beginning, in my head.

DC: Aside from a writing MFA, what graduate programs do you think would be most conducive to this kind of horror story?

Living in my imagination and exploring my fears and my what-ifs and my desires, in narrative form, helps me cope.

MA: I think any environment in which people who are sensitive, people who are creative, are being asked to activate their imaginations at the same time, you know? Because that’s what’s generating the horror. A small group of people have been sequestered away from their usual lives, and they’re being asked to tap in to their emotions and create something. They have to do that in front of other people and expose themselves. A lot can go wrong if you really think about that situation. To me, the situation is rife with danger, rife with horror, rife with anxiety. I think that that extends even beyond graduate programs, you know? Any endeavor in which you’re putting yourself out there in front of a group of people can generate those feelings, can create that really deep unease—and can really mess with your head. That’s the other thing that Bunny plays with, this notion that perspective can really warp reality. My main character is an artist, and she is feeling very vulnerable for a number of reasons, and she’s feeling very anxious. How much of that anxiety and how much of that vulnerability is shaping the world around her, and her experience of her peers? 

DC: Right, and she’s coming from a different class background than her peers.

MA: That’s part of it, too.

DC: Would you say that creative people are more prone to seeing horror in the world around them, in general?

MA: Wow, that’s a great question. If I speak for myself as a creative person, I can go in two very wildly different directions, and I can do it in a given moment. I think a lot of creative people live in their heads, they live in their imaginations, and their imaginations are really rich territory where they process the world around them. In that space, anything is possible and your wildest dreams can come true. On the other side of it, things can look really bleak, and really scary, and you can go down some really dark roads in your head. So Bunny kind of does both. Samantha has these really wondrous, exhilarating moments of creativity and of encounters with true wonder and magic and then she also has these terrifying, nightmarish experiences. You could argue that they’re both generated from the same place inside of her, that imaginative place.

DC: I think about that all the time, how the way that I see the world, and the way that creative people in my life see the world, can sometimes be…

MA: You can go pretty dark if you want to.

DC: Would you be willing to divulge any horrors from your own MFA experience?

MA: I would happily, except that I have to say—in spite of the picture that I paint of the MFA experience [in Bunny]—I finished my first novel, 13 Ways of Looking at a Fat Girl, because I went to an MFA program. I had a really supportive group of people, both professors and colleagues, at Brown, and actually, the experimentalism, which I think Bunny takes a bit of a jab at—even though it is kind of an experimental book—helped me write 13 Ways. It helped me get outside of my own ideas about how a story was supposed to be told. So it shook me up in ways that were very productive, but certainly, as a creative person, just trying to finish this book, I had a lot of anxiety. I almost dropped out in the middle of my MFA—and it had nothing to do with Brown or my peers or anything like that. I just didn’t think I was going to finish my book. And that was awful. So probably some of the writer’s block stuff that Samantha has, that’s where some of my horror stories come from, just getting in my own head and thinking that there was no way I could finish this book. And it mattered so much to me, you know? The book mattered so much to me, and this idea that I couldn’t finish it was just so scary. But then, of course, I did finish it, in part because I did stay, and I told myself that I had to at least stay and try. And if I stayed and tried, at least I’d gone through the program.

Probably one genuine experience of horror that I had—and this is definitely in the book, to some degree—was my surprise at how sketchy Providence was. I’m glad, in a way, that I had that experience, because it’s such a beautiful town. The houses are stately, even in their ruin. It’s a stunning place. I can see why H.P. Lovecraft was so inspired by it and had such a profound creative relationship with it. But it’s also kind of creepy. There’s a real divide between the Ivy bubble of Brown and RISD, and then the town beyond that. That took me by surprise, a little, even though it is a lot better than it used to be. It was kind of scary. It was useful, too, in Bunny—it inspired me to draw from those social, class differences, and really bring them out in the book and really use that as a way to generate a sense of unease in the reader, and a sense of the Gothic. The horror, in part, comes from the setting. It’s very, very charged.

DC: We kind of see that where Samantha and Ava live, versus where the Bunnies live.

MA: Exactly. Very different parts of town.

DC: Clothes signify so much in Bunny: personality traits, lifestyle changes, even betrayal. I loved the descriptions of Ava’s outfits, and her black veil. She’s very much my personal style icon. And then on the Bunny side of things, I liked the dress covered in kittens “wearing crowns because they are the kings and queens of this world.” What kind of “research” did you do to make these sartorial details so sharp?

MA: Oh, yeah. First of all, I’m obsessed with clothing. It’s a very charged thing for me, and it’s always been a source of inspiration for me, in my first book and in this one. Maybe it’s because of my own struggles with body image, but I have a very, very layered relationship to clothing. So I’ll pay attention to clothes, a lot of attention.

I feel like a boring tree murderess very often. Why put it out in the world if it’s never going to be as good as a tree?

For the creepy-cute outfits that the Bunnies wear, I was really drawing from that kawaii idea of the cute being a little monstrous. One site that I did visit a lot was the ModCloth site. I looked at the comments a lot. Because in the comments, people reveal the things that they hate, but they’re trying to accept that they still love the dress, and they don’t want to part with it. There are such interesting little monologues that reveal so much about the very layered conflicts that people have with their clothes. I tend to look at the comments on dress sites, not just on ModCloth, to get inspiration. And I love the names of the ModCloth dresses, I think they’re hysterical. They have such outlandish names. 

Then the darker, more vintage, glam, punk aesthetic that Ava has—I love those looks and I love the subcultures associated with those looks. So it was fun for me to kind of go crazy describing Ava. She’s totally the antithesis, obviously, of the Bunnies and their kind of fashion.

DC: The description of Ava’s apartment made me feel like she was living in my dream apartment (“this living room that smells like a thousand old frankincense sticks…The turntable playing tango or some weird French sixties stuff that sounds exactly like the music you dream of but can never find. The lady-shaped lamps lit all around us”).

MA: I know, right? It’s my dream apartment, too.

DC: During one of Samantha’s inner monologues during workshop, she imagines one of the Bunnies saying, “I’m sorry that I think I’m so goddamned interesting when it is clear that I am not interesting. Here’s what I am: I’m a boring tree murderess.” I’ve been thinking about this a lot because I relate to it so deeply. Do you have any advice for those of us who feel like boring tree murderesses most, if not all, of the time we sit down to write?

MA: I mean, I would want to take [that advice] too, because I feel like a boring tree murderess very often. I always think, ‘Is this as good as a tree?’ It’s never going to be as good as a tree. Why put it out in the world? We need trees. I don’t know, I think—oh. It’s so hard, isn’t it? The tree murderess comment aside, it really is true that being creative is essential to engaging with what it is to be alive. So I think that’s where the permission has to come in, you know? It’s like, this is my way of actually being alive, and communing with something beyond myself, communing with the world. That’s what I always try to tell myself: that living in my imagination and exploring my fears and my what-ifs and my desires, in narrative form, helps me cope.

The Antifascist Message Hidden in This Greek Coming-of-Age Novel

Earlier this summer, the news out of Greece was good for a change, at least for the global financial markets. In July, the once defiant leftist party, Syriza, lost parliamentary elections to the right-wing, pro-business New Democracy, and investors bought up Greek bonds, celebrating the country’s return to normalcy. Better times, after all, were supposedly ahead—but for whom? For Greece’s thousands of waylaid refugees, the forecast is definitely dreary. That became evident on August 26, when Athenian police evicted at least 100 refugees from squats in the Exarcheia neighborhood—a well-known “anarchist stronghold” where migrants had been able to build ramshackle homes. 

Such physical clashes between fascists and the left—and an unhesitating insistence on naming the “right” as fascist—are politics as usual in Greece. This dynamic dates back to the Greek Civil War, a conflict between leftists and the U.S.-backed conservative Greek government that historians consider one of the first theaters of the Cold War. Margarita Liberaki’s Three Summers, published in Greece in 1946 as Τα Ψάθινα Καπέλα, or The Straw Hats, and recently republished by New York Review Books, debuted right as this crucible was forming. Today, this novel’s republication feels particularly well-appointed, as countries contend with an emboldened, fascist-leaning right—circumstances so similar to 1946.

But to read Three Summers is not to step into the shoes of Greek antifascists, at least not immediately. In fact, the book is conspicuously apolitical, scrupulously omitting any information that could situate its events chronologically or telegraph the author’s politics. Instead, it tells the story of three sisters coming of age in the leafy outskirts of interwar Athens, courting young men and confronting family secrets over the course of three summers. 

For this reason, as much as for its hazy and lush prose, the novel must have felt like printed-and-bound sunshine to its first readers. Their lives had been darkened first by WWII and the German invasion of Greece, and then by the civil war, which would continue until 1949. To these readers, Three Summers ”offered an oasis from the unbearable realities of the day,” according to translator Dr. Karen Van Dyck’s introduction. I think this is true—and true today, too—but there is another dimension to this book that bears further discussion. 

Before broaching that aspect, it’s necessary to consider the author’s background. Liberaki, the granddaughter of a prominent Athenian publisher and bookseller, was 27 at the time of the book’s publication. It was her second novel, the first after getting married and graduating law school, and the last before she would divorce her husband and decamp to Paris, leaving behind her daughter (as she herself had been left behind by an expatriate mother). In Paris, she mingled with intellectuals and expatriate Greek leftists and continued to write (in both Greek and French) novels and plays. Much of that work, such as the 1951 novel, The Other Alexander, quite explicitly engages with the politicization of Greek society and the enduring rifts between the right and the left, turning traumatic recent events into allegorical and mythological narratives. 

Three Summers is a bittersweet indictment of a culture’s reluctance to confront its own pathologies.

Considered alongside these other works, the sunlight and nostalgia of Three Summers—its painstaking avoidance of politics—begins to suggest strongly that which it refuses to name. Yes, this book is a chronicle of both a girl’s coming of age and an artist’s development. But in the context of post-war Greece, such a book was political. Beyond being an Arcadian withdrawal to better times, Three Summers is a bittersweet indictment of a culture’s reluctance to confront its own pathologies—and each individual’s complicity in it. 


Apropos of the Greek title, the novel opens with three sisters sitting in a garden in a suburb of Athens, each crowned with a differently decorated straw hat. Cherries adorn the straw hat of the eldest sister Maria; forget-me-nots for the youngest and most beautiful, Infanta; and for Katerina, the middle sister, narrator, and possible author-proxy, “poppies red as fire.” They flow into one another, “the three of us melted into one,” but the growing individuality of each sister is already disrupting their harmony. Maria is drawn to marriage, engaged to a wealthy doctor’s son who will follow in his father’s footsteps. Infanta is the protégé to the girls’ spinster aunt, a survivor of sexual assault named Theresa, and devotes herself to mastering embroidery. 

But Katerina—“the pure one,” as her name means—can’t quite commit to one of the traditional callings that have, as far as she is concerned, ensnared her sisters. Inordinately adventurous like her Polish grandmother, who abandoned the family for a foreign lover, Katerina is restless and capricious. A budding writer (but as yet unaware of it), she wants to travel the world and “live a thousand lives,” but can’t renounce her affection for the tiny world of the Greek bourgeoisie, where it is enough for a woman to be content with a fine home, its corners swept clean of dust. 

Katerina can’t renounce her affection for the tiny world of the Greek bourgeoisie.

It had to be enough. Greek society at the time was rigidly patriarchal, precluding women from social existence independent of their nearest male kin. The language itself, like several other languages, does not even grammatically allow a woman to stand alone: Women’s surnames in Greek are always rendered in the genitive case, which designates nouns as owned by someone else (consider “Offred”). 

These conditions denied women any kind of public presence or to speak on their own behalf in any venue (unless it was denounce communism). For a girl’s name to appear in the newspaper, even for academic achievement or athletic prowess, was to risk bringing shame to the family, according to research conducted by scholar Janet Hart in her book New Voices in the Nation: Women and the Greek Resistance, 1941–1964. 

Within this context, the so-called “Generation of the Thirties,” a cohort of writers and poets, deliberately brought Greek letters up to speed with the modernist trends that had been prevalent in Western Europe since the 1920s. According to scholar Roderick Beaton’s An Introduction To Modern Greek Literature, Liberaki’s novel, despite its 1946 publication date, continued the work of the previous decade, incorporating modernist devices to limited, amateurish effect. Consequently, the  novel occasionally reads like a poorly thought-out imitation of Virginia Woolf: whereas Woolf’s elisions and ellipses are devastatingly effective and clearly intentional, Liberaki’s imitations sometimes register more like hastily removed “TKs.”

But over and above this innovation in the form of the Greek novel, Liberaki also made what we might consider a feminist political contribution to Greek letters. Following Woolf, she captures life as it is lived in small “moments of being,” especially of female domestic rituals, which Katerina cherishes rather than disdains—surprising considering her willfulness—translating these private moments into the public language that had effectively been forbidden to Greek women.


Over the course of the book, boys, desire, jealousy, and secrets pull the sisters apart and push them back together, contouring them into separate beings. At times, Katerina mourns the loss of effortless communion with her sisters. At others, she bursts with affection for the rites of passage—explicit or otherwise—that help children put aside childish things. “I wish I could take it all in, holding it in my arms or being held in its arms. Something is swelling inside me, getting larger and larger…I sigh,” Katerina says, speaking with not an insignificant amount of bitterness. 

Katerina’s father and uncle are both best understood as Large Adult Sons.

As the sisters find out, the men in their world are not expected to put those childish things away thoroughly or for good: Katerina’s father and uncle, for example, are both best understood as Large Adult Sons. “It didn’t matter that the eldest was forty-eight and the other forty. They were still children,” she recalls, with more than a hint of bitterness. That bitterness combines with an anxiety about the future—a kind anticipatory nostalgia for things that are not yet gone. Liberaki’s language braids the present moment’s optimism and the devastated near future together in downward spirals of exuberance, apprehension, doubt and concession. 

To a Greek woman in 1946, such a pattern was all too familiar. They had, after all, had only just been churned through the same cycle, and hope for a better future was as scarce as any other resource. In some ways, there was arguably more hope to be had a few years prior, when the war was still being fought against the Axis Powers. 

A robust Greek resistance aligned with the political left had resiliently fought against the quisling government, not just for the freedom of their homeland, but for an entirely new future. Part of that future was equality among genders, and in pursuit of that goal, the left-wing resistance had in 1944 granted women the right to vote for the first time in modern Greek history. Two years later, when the left had been demoted from ally to enemy of the conservative, capitalist post-war Greek state, women’s suffrage was repealed. 

Likewise, the women who had exercised it and fought for it were recast as traitors to the Greek nation. “To have been a woman in the resistance and thus to have been exposed to hubristic notions of female personal and political power was now to inhabit the realm of the morally suspect,” Hart writes in New Voices in the Nation. It is precisely for this reason that Three Summers is a subversively political text, particularly if we take Katerina to be a stand-in for the author. 


Although it is dangerous to superimpose Liberaki’s life onto Three Summers, the composite image is telling and persuasive. The book takes place over three summers in the mid 1930s, beginning when Katerina is 16—a little younger than Liberaki would have been around 1936. That year was, for Greece as for the rest of the world, a pivotal one. Prime Minister Ioannis Metaxas successfully persuaded the Greek monarch to suspend parliamentary democracy, effectively elevating Metaxas into a dictator. Such autocrats were not new to Greece, but Metaxas was different. 

“Metaxas, by all accounts, was not simply interested in political power (as had been true of all previous political formations in Greece), instead, he was interested in form(ulat)ing whatever it was that he understood as ‘the Greek psyche’ and ‘the Greek mind,’” writes scholar Neni Panourgia in her book Dangerous Citizens: The Greek Left and the Terror of the State. “Metaxas held that both these entities, psyche and mind (psyche and pneuma), ought to constitute a monolithic, monadic, singular articulation,” and that such entities could only come into being under the aegis of an autocratic authority (him). 

By 1946, Metaxas had been dead for five years, but his philosophies had been poisoning the well of Greek thought for more than a decade, thanks to his aggressive indoctrination programs. Modeled after Hitler Youth, Metaxas Youth recruited young Greeks, especially those from the middle class, in an attempt to educate them about the leftist menace and instil in them love of king and country (Metaxas was a staunch monarchist). His efforts were successful, at least until the war broke out and, as one Cretan woman Hart interviewed in her book said, it “woke us up a lot more intensely…Later on, in the war, I saw what fascism was and that the youth group I had been in was a fascist organization, and I was very ashamed. I was very sorry that I participated, but I just didn’t know.”

What do the dog whistles of dead Greeks mean to us today?

The woman’s language, its metaphor of wakefulness, is coincidentally similar to Katerina’s in a cryptic, gnomic chapter in the first part of this three-part book. “So the days slipped by without our noticing. Up until now our memories and expectations had been enough. But one day we woke up. We could no longer stand in the sun with our eyes half-closed, letting our skin tan, watching it get darker and darker. Nor was our morning exercise satisfying the way it used to be.” For the women (and men) who had lived through one war only to begin fighting another and who were now reading Three Summers, the meaning of Katerina’s words was likely more than what is obvious on the page. 

But what do the dog whistles of dead Greeks mean to us today?


Three Summers‘s strongest blows come in the form of devastating understatements, as if a child had found something dirty and brought it out to play, naive to what it really was. In a similar manner, Katerina recollects aspects of these three summers in such a way that it’s as if she is encountering them for the first time, unsure of how they all fit together. Occasionally, she intervenes in the past from her privileged position in the future, punctuating the text with a weary, “Now, [we know better].” 

When is now? One can only assume that it’s the brief period between the end of WWII and the start of the Civil War, when Liberaki and all of her compatriots were funnelling downward from exuberance, to apprehension, to doubt, and finally to concession. From this distance, Katerina can connect the dots between the experiences she has chosen to remember in this novel, mapping constellations on the faraway sky of her youth. 

It’s thus especially meaningful that Katerina is in love with her neighbor, David, an aspiring astronomer. The handsome young man reappears in her life after a four-year absence, toward the end of the first summer–bearded and barely recognizable. “I was about to greet him, welcome him but instead I just looked at him and went on walking. It was a strange moment that floated in space and then flew away before I could catch it, hazy, and yet perfectly clear because it captured all my old hatred and jealousy for the colorful rubber balls and the striped jackets with gold buttons that used to be sent to David from England.”

The son of a Greek shipowner and English Jewish woman, Ruth, David is a walking enigma for Katerina. She is confounded by the seeming boundlessness of his ambition and interests (he is writing a book-length study of a star), as well as by his Jewishness—particularly because of his mother’s blond hair and blue eyes and other deviations from an antisemitic stereotype: “I couldn’t get rid of the image I had from reading the Old Testament of Jews as dark-skinned, pensive people with dark shiny hair. I thought of them as having olive oil skin, yellow fingers, a repelling yet intriguing nature, sweet and sneaky voices, a bitter soul. Ruth, on the other hand, was always laughing.” 

The novel is an understated confession of an entire generation’s culpability in fascism.

That such thoughts could have fatal implications would have gone without saying to the readers of this novel, which itself is, like some of its best prose, an understated confession of an entire generation’s culpability in fascism. For although “she was curious and noticed everything,” Katerina does not seem to notice what is happening around her. “I look up at the moon between the two eucalyptuses; it touches the ledge of the cistern, and I can see the silhouette of a frog in its circle of light. But the frog is not on the moon. Like me, it is on the ground looking up.” 

Given the explicit political content of her later works, Liberaki’s Three Summers is something like the swansong of her adolescent bourgeois ignorance, as if she is asking herself how, back then, did she not see that all the pieces of a puzzle were right in front of her? Or rather, that all the symptoms of a disease were there for the diagnosis? Registering the shame of one’s own complicity in fascism, Three Summers is a call to wake up for all generations, in all seasons. 

8 Books About the (Sometimes Toxic) Intensity of School Friendships

A new school year means an opportunity to make new friends. But what happens when the intensity of school life turns friendship into something unexpected, and possibly sinister? On this list, you’ll find innocent school friends turned into lovers, enemies, and accomplices in ritualistic murders. With friends like these, you probably won’t be getting any homework done.

The Secret History by Donna Tartt

The Secret History by Donna Tartt

Richard Papen, a California boy longing for an escape from his less-than-romantic life, gets more than he bargained for when he transfers to a private college in Vermont. Upon his arrival, Richard is sucked into a Dionysian cult in the form of his insular Classics class. When things go too far and the students murder one of their peers, these Greek-obsessed friends must confront the tragedy they’ve created.

Trust Exercise

Trust Exercise by Susan Choi

These high-schoolers and their enigmatic theater teacher aren’t to be trusted—not even the book’s narrator. Full of secrets, lies, and twists, this novel about students at a performing-arts high school examines the stories we tell about ourselves and how far they can veer from the truth. 

Normal People by Sally Rooney

Normal People by Sally Rooney

Marianne and Connell are two teenagers from opposite worlds. However, when their lives pull them together, they begin a secret affair that follows them from high school to college, an affair that helps them align their painful pasts with their present selves as they grow up together.

The Secret Place by Tana French

The Secret Place by Tana French

When a young boy is found dead at an all-girls school, the lives of two close-knit groups of girls are thrown into chaos and question. Told alternately from the perspective of the girls in the year before the death, and from the murder investigators months after, this detective novel explores the dark sides of friendship and loyalty. 

Special Topics in Calamity Physics by Marisha Pessl

Special Topics in Calamity Physics by Marisha Pessl

Blue Van Meer is an intelligent, eccentric high school senior who has been hopping from school to school for the last few years. When she finally gets to settle in North Carolina, she immediately falls in with a group of “genius” students and their strange professor, Hannah. But when Hannah is found dead, Blue must unravel a tightly-knotted murder mystery. 

If We Were Villains

If We Were Villains by ML Rio

At the end of Oliver Marks’ ten-year prison sentence, he finally agrees to tell police the true story of the night that landed Oliver in jail. Over the course of their senior year Dellecher Classical Conservatory, seven drama students spiral into murderers as Oliver describes the increasing madness and violence of his Shakespeare-obsessed peers. 

The Fall of Rome by Martha Southgate

Jerome Washington is the only Black teacher at a Connecticut boarding school for boys. When Rashid Bryson, a Black student from Brooklyn, is accepted to the school as part of an affirmative-action initiative, he looks for friendship in Jerome. Jerome’s rejection leads Rashid to Jana Hansen, a white teacher who wants to support him. As these three protagonists’ lives tangle together, their shared tragedies are revealed as their lives begin to crumble.

The Lake of Dead Languages by Carol Goodman

The Lake of Dead Languages by Carol Goodman

When Jane Hudson returns to her former all-girls school to teach Latin, her past resurfaces in unexpected ways. As we learn about Jane’s past at the school and the deaths that plagued her childhood there, we see sinister patterns repeat when one of Jane’s students tries to kill herself. 

Where Are All the Memoirs About Abortion?

I scoured the parenting and pregnancy sections in Barnes & Noble, but the only books I could find about pregnancy exclaimed about it happily. I moved on to memoir, fingers running over the bindings of book after book. Where are the ones for women like me? I wondered. Women who don’t know what to do?

It didn’t matter how many rows I wandered: there was nothing there. You are going through something shameful, a voice in my head said. You’re supposed to figure it out for yourself. I had hoped to find memoirs of women grappling with a choice and describing at length how they made up their mind. I wanted a step-by-step how-to. I wanted rich, fraught, real stories. It’s 2013where are the books about people who hadn’t planned on being pregnant, or who hadn’t kept their pregnancies? 

The bookstore failed me, so I tried the internet. I found one memoir about a woman who got pregnant unexpectedly—Rattled by Christine Coppa—but she kept her baby. I bought Coppa’s book and devoured it over the next few days alongside pints of strawberry fro-yo. I dissected her sentences, looking for clues. “Okay, here is the moment she realizes she’s pregnant. And here is the moment where she decides to keep it.” But there was no such road map—-her decision seemed immediate. I couldn’t find any memoirs by people who’d considered abortion, let alone a memoir by someone who’d actually had one. I hadn’t decided whether to keep or end my pregnancy, but abortion was on my mind, and I wanted to find books about other women thinking about it and going through with it. After reading Coppa’s memoir, however, I accepted that, in this case, there were no books that could help me know what to do. 

The first six books that come up for ‘memoir’ and ‘abortion’ are published by Christian presses and are clearly anti-choice.

This was six years ago, but, even now, when I go to Amazon and enter the search terms “memoir” and “abortion,” the results are not much better. The first six books that come up have been published by Christian presses and, based on their descriptions, are clearly anti-choice. They include titles like Memoirs of a Christian Who Chose Abortion; Just Another Girl’s Story: A Memoir on Finding Redemption; A Voice for Victoria: A Memoir of Healing from Post-Abortion Trauma. These stories imply that after ending a pregnancy, one will have trauma and will require redemption. 

After combing Google, scouring bookstore sites, and asking groups of nonfiction writers online and in-person, I have found a total of four books in which a pro-choice author devotes the whole story to her pregnancy, abortion, and its aftermath. They are: May Cause Love: An Unexpected Journey of Enlightenment After Abortion by Kassi Underwood (2017; HarperOne), Poor Your Soul by Mira Ptacin (2016; Soho Press), Deep Salt Water by Marianne Apostolides (2017; BookThug), and Impossible Motherhood: Testimony of an Abortion Addict by Irene Vilar (2009; Other Press).

Let me repeat: after much searching, I found four, all published in the past decade. Why is this the case? Why are these stories still so untold in contemporary nonfiction? 


When I first reached out to Mira Ptacin, she was surprised I’d even heard of her.  Although her book did get reviewed when it came out, Ptacin began our phone call by asking, “How did you come across my memoir? No one has heard of it. How the hell did you find my book?” Poor Your Soul had been published with a smaller press after multiple big New York houses turned it down. They told her they weren’t sure how to market a book like that. 

Poor Your Soul by Mira Ptacin

Ptacin sensed a cop-out. “They just really didn’t wanna go there,” she said. “Even the women. Women think they’re so progressive, and they say: ‘This book is so important.’ But when it’s time to make a bold move, they don’t do it. And we need these books. They provide empathy. It’s not an easy decision [to end a pregnancy]. It’s not simple. [People who make that choice] are not evil. And until all these stories come out and we have a variety of them, abortion is going to be stereotyped.”

Ptacin was told that her book needed to be about something more than “just her abortion,” as though abortion and grief could not possibly constitute sufficient material for a memoir. She was told to expand her manuscript: to bring in her family, to make the tale about her mother’s loss of a child in addition to her own story, and to braid the narratives. The back cover copy of her book states: “Far more than her personal story of abortion, Ptacin’s brutally honest account incorporates her own mother’s tragic loss of a child.” This blurb comes from Ms. Magazine, yet the phrasing here is problematic. Why does the book need to be “far more” than just her personal story of abortion? The phrasing of the rest of the sentence implies that the story really worth telling here is the mother’s loss of a child. Ptacin ended a wanted pregnancy because of severe fetal abnormalities in her second trimester. Did she not also lose a child? 

Are authors who write about their history of substance abuse told their stories need to be about more? Are authors who write memoirs about a struggle with cancer told this? Or authors who write about the loss of a child who has been born? Why are publishers ready to publish true stories of alcoholism, sexual promiscuity, and illness, but not unplanned pregnancy and abortion? 

If I’d had true stories from other writers to read, I might have felt less ashamed.

Nearly half of all U.S. pregnancies are unplanned, making this one of the most common experiences a person can have. One in four women in America will terminate a pregnancy by age 45. Those women—women like me—often search for solace and guidance in the true stories of authors. But our searches often turn up empty and we are left feeling alone. If I’d had true stories from other writers to read, I might have judged myself less harshly when this happened to me; I might have felt less ashamed. I was enraged with myself for getting pregnant. I did not understand until much later, when I began to volunteer as an abortion doula, how incredibly common this was and that there was no need to feel shame. As a doula, I watched women walk into and out of procedure rooms for hours on end, day after day. College students chatting about classes. Moms with little kids at home. Teenagers and older people. Meeting and supporting them taught me firsthand how many people experience this. When they were on the surgical table, I held their hands, wiped tears from their eyes, and felt a level of compassion I hadn’t been able to grant myself. 


Ptacin also couldn’t find any memoirs on the topic when she was grieving after her termination. Hers was a complicated and difficult situation. To have had access to others’ experiences would have been a balm. “There’re no books about abortion,” she says. Ptacin was given Elizabeth McCracken’s book An Exact Replica of a Figment of My Imagination, a novel about stillbirth, and said that was the closest thing she had to what she was going through.

Ptacin explained that she’d had a hard time relating to McCracken when she first read that book because “my rage about all of it—losing a baby, the accidental pregnancy, the broken healthcare system, how women’s bodies are controlled by white men in office, the lack of support for child loss/reproductive choices—hadn’t hit me yet. 

“The ‘post’ part of PTSD hadn’t quite arrived, so I was watching McCracken’s experience when I read her, rather than relating to it. But now, I can relate and can feel what she felt; I can empathize and feel her as a companion. But it took some time for my raw pain to sink in.”

Poor Your Soul was named a Kirkus Best Book of 2016 and was reviewed by the Boston Globe, Booklist, Publishers Weekly, Ms. Magazine, Michigan Quarterly Review, the Harvard Review, and others—so I asked why she was surprised I’d found it. She mentioned that sales were low and that “few people had heard of it, hardly any so-called feminist magazines—like Marie Claire, Cosmo, Elle, etc., or feminist reproductive groups such as Lady Parts Justice League, or even just feminist influencers—had anything to do with the book.” These places hadn’t answered her or her publicist’s pitches about Poor Your Soul. “[It]…didn’t prompt the discussion I had hoped it would among people in general. Mostly, I heard back from literary groups in praise of my writing and from women who had lost babies. That was it.” 

In the text, after the abortion, Ptacin is afraid to have sex again, and relays advice from her mother. Her mom states “Losing a baby is very traumatic, but you will sanctify your body again…will feel better about your body, connect body with soul.” 

Even though I terminated my pregnancy at six weeks—nowhere near as far along as Ptacin’s pregnancy—it felt like Mira’s mom was giving me advice too. My own mother was wonderful when I told her I was pregnant, but the experience was the most earth-shaking of my life, so I sought out advice from anyone who’d experienced pregnancy, particularly mothers. Nothing in my life felt the same the moment that second line on the stick turned blue. That summer, I had the chance to be a mother and had not taken it. It felt like I had played God. I doubted my choice even as I felt assured in it. I felt like it was the only sensible thing to do at the time, and I was grateful to have had access to a safe and legal procedure, but I wondered constantly about what could have been. And I felt alienated from my body, which I felt had betrayed me by getting pregnant. 

I did not realize then that there is not a ‘kind of woman’ that this happens to, partly because these experiences are so hushed up.

After my abortion, I bled for three months. I had to take antibiotics to prevent infection. I could not swim, and I couldn’t drink because of the medication. My favorite means of summertime relaxation had been robbed from me, along with an understanding of the kind of woman I was. I did not realize then that there is not a “kind of woman” that this happens to, partly because these experiences are so hushed up. And there was no guidance about the physical aftermath—no one to tell me if the prolonged bleeding was normal, so I scrounged for advice on Internet forums. During these months, I picked fights with the man who’d gotten me pregnant, often calling him in tears. I wanted him to mourn like I was. In Poor Your Soul, Ptacin tells her partner Andrew, “ ‘I need you to see it…try to see how I might feel.’” She realizes, though, that this is impossible: “But I knew he couldn’t, and he never would.” I knew my partner never would either. He couldn’t. The baby had been growing in my body, not his. I was haunted by the muscle memory of the experience, of what it had physically felt like to be pregnant. Reading the words of another woman talking frankly about emotions and fights that had echoed my own helped me to see I was not unreasonable for the reactions I had at the time. They were my body and brain’s means of processing grief. Reading the words of even one other author who shared these experiences showed me I was not alone.

Like Mira Ptacin and me, author Kassi Underwood also struggled to find books about this topic when she was navigating an unplanned pregnancy. Underwood’s memoir May Cause Love: An Unexpected Journey of Enlightenment After Abortion, therefore sprung, in part, from a need to fill a gap in literature: “Authoring the book I couldn’t find in the library was the first idea that had given me a sense of purpose in a long time,” she writes in her memoir. Underwood captured the whole story on the page, along with the complex range of emotions she felt. And she achieved her goal, writing the book she had needed to read. When author Melissa Febos later read the book, she commented, “While reading May Cause Love, I found myself continually shocked that such a book has not already been written, that this experience shared by so many women in this country is not already available in myriad variations in every bookstore in America.” 

At least with the publication of Underwood’s book, we have one more true iteration of what it’s like. She was unmarried, broke, and drinking heavily when she discovered she was pregnant at nineteen. She does not feel her abortion was the wrong choice for her, yet she grieved after ending the pregnancy, and felt the need to go on a journey of spiritual healing, which she discusses at length. 

After my abortion, I felt the need to go on a similar journey. Reading Underwood’s book five years after my pregnancy was emotional. Much of the narrative felt like it could have been taken directly from my mind. Lines like “part of me didn’t want to finish grieving” resonated deeply with me. For years guilt and sadness sang through me. I felt obligated to hold onto the grief. I held that obligation as though the only thing I could do was remember that my pregnancy had existed. In my imagination I pictured another life in vivid detail: their birth. Their toddlerhood. The person she or he or they would have been. 

I did not realize that holding onto this grief was hurting me. In the end, it was other women who pulled me out.

I did not realize that holding onto this grief was hurting me. In the end, it was other women who pulled me out of this, and Kassi Underwood was one of them. She had seen herself as “the bad girl” for getting pregnant. Reading how she had internalized such ideas, like I had, helped me so much. Underwood’s eventual realization that “if you want to live the life you chose, one day you will have to stand still and hold all of it—scorched heart and broken brain, bones and skeletons of the past, the black wave of grief and the lucid thoughts of forgiveness.” You would have to make peace with your story, I saw, five years after the fact. To acknowledge your lack of control, your humanity, your imperfection. You would have to let it wash over you and mix in with all the good things about you to see the picture as a whole. 

Even though it had a big publisher—HarperOne—May Cause Love got about 10 trade reviews spanning a year. Underwood surmises that perhaps the degree of nuance in her tale, and her need for spiritual healing after the experience, turned the pro-choice camp away from her book, kept it from coming out in paperback, and prevented it from being reviewed more widely.

“What raised flags for me,” she said, “was in the months leading up to publication, multiple journalists were pitching major feminist women’s magazines that regularly cover books about abortion (as long as it’s the typical ‘I feel relief and gratitude and abortion should be accessible’ narrative) and getting turned down or ghosted by editors they otherwise had a good relationship with. May Cause Love did not get any reviews in women’s magazines, despite lots of journalists pitching them—though a friend of mine interviewed me for BUST.”

As helpful as it is that Underwood’s book has found its way onto library shelves at all, had it additionally come out in paperback, the number of women who would have had access to at least one real, complex story would have increased, particularly because paperbacks are more affordable than hardcover books. There was a paperback deal in the works—Underwood had written an afterword, and the cover design had been updated—but it was killed at the eleventh hour. She suspects the fact that she writes openly about the “messy middle,” or the gray area of gratitude for having had access to abortion, yet being conflicted about the choice, is the reason why. Underwood is pro-choice, but did not simply feel relief after her abortion, and some in the pro-choice camp don’t like to hear this. This is a real problem because that messy middle is where many may fall—myself included.

The ‘A’ word is not popular in marketing.

Some memoirs and essay collections do include true stories of the author’s termination, only you’d never know it from the book copy. Abortion also isn’t often discussed in a book’s synopsis. The “A” word is not popular in marketing.

For example, many people will tell you that Cheryl Strayed’s breakaway hit Wild: From Lost to Found on the Pacific Crest Trail is about a woman who went on a life-changing hike in the wake of her mother’s death from cancer. While this is true, what they do not mention, and often don’t know, is that she also went on this hike after having an abortion. You’d have to read the memoir to know this: it’s not mentioned anywhere on the book jacket. 

Anna Akana’s recent work of nonfiction So Much I Want to Tell You: Letters to My Little Sister (2017; Ballatine Books) likewise does not mention abortion on the back jacket. The reader must get to the chapter “Take Your Birth Control” to learn that Akana ended an unplanned pregnancy. This is the kind of information that should be mentioned in a synopsis, so that the people seeking such books can actually find them, but the word “abortion” itself is still heavily stigmatized. The Kirkus review of Ptacin’s book uses words like “teratology” —the birth of monsters—to describe the major focus of the book. This is ridiculous: no one knows what this word means. We need to just call the subject what it is.

It’s 2019, and we haven’t broken through all the stigmas, silences, and boundaries that keep people with a uterus siloed off by their bodies. If I had been pregnant in 2018 instead of 2013, I might have found the book I was looking for when I went to Barnes & Noble that hot July day. I might have gone home and devoured the tale, more secure in the knowledge that others go through this, and the reassurance that no matter what I chose to do, I could have—and still deserved—a good life. 

‘Gun Island’ Is a Surreal Novel About Climate Change and Migration

The specter of climate change swirls around the characters of Amitav Ghosh’s latest novel, Gun Island. Deen, a New York-based antiquarian book dealer goes into the Sundarbans, the (disappearing) wetlands wedged between India and Bangladesh, in search of a shrine—and the truth behind the myth of the Gun Merchant and Manasi Devi, the goddess of snakes. 

Gun Island
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This journey sets off a chain of others and brings in Piya, an American scientist monitoring dolphins in the Sundarbans; Tipu, a slippery, ever-hustling young man who schools Deen; the earnest Rafi who goes from the Sundarbans to Venice via a convoluted, dangerous route taken by migrants today, and Cinta, the glamorous Italian academic, whose faith and insight glimmer through the book. Ghosh weaves the myth of the Gun Merchant into contemporary weather-related realities such as the Los Angeles wildfires, the unusual travels of dolphins and spiders, and the sinking buildings of Venice, to create a pacy, absurdist, and ultimately hopeful tale of our times. 


J.R. Ramakrishnan: I feel like rare books and book dealers make for the best characters. Your novel made me think of Amin Maalouf’s Balthasar’s Odyssey which has a protagonist chasing down antiquarian book dealers in search of book containing the 100th name of Allah set in the 17th century, a time period that is very much present in your book too. How did Deen as a character come to you? 

Climate change is all around us and it affects us in different ways

Amitav Ghosh: I don’t think it’s an accident that Amin Maalouf and I have rare book dealers as characters. He’s a man who reads a lot and who is steeped in history. That’s true of me as well. The reason why my character became a rare book dealer is because he’s not the central character. He’s the narrator but not the protagonist. He’s just an observer. He’s not trying to take center stage. He became the narrator at a very early point. I’ve only written one novel in the first person so I wanted to get back into that and he emerged out of that. 

JRR: The book contains multiple journeys. I felt like I was right there in the Sundarbans with Deen when he goes to the shrine early in the novel. You obviously know the area very well.

AG: As you may know, I wrote an earlier book about the Sundarbans. It’s called The Hungry Tide. The Sundarbans just worked its way into this story. I think that happens when you have a very powerful landscape—it tends to impose itself on you. I’ve been there a lot. It’s very much part of my imaginative life. I guess it was inevitable that it would be part of this book as the Sundarbans are very, very badly affected by climate change and it’s an ongoing disaster. 

JRR: I guess it is one of the frontlines of climate change? 

AG: Yes, absolutely. Actually way back when I first started writing about the Sundarbans in 2000, I could already see some of the effects. I didn’t understand exactly what was happening. Only later when the science became clearer, and more and more was written about it, that it became apparent to me.

JRR: I wanted to ask you about the scene when Deen is on the flight to Los Angeles and is anxious about the wildfires in the city. He accidentally turns on his Bluetooth speaker in the luggage bin and Nusrat Fateh Ali Khan’s “Allah Hoo” comes on. Things get worse for him and he’s detained upon arrival in LAX. In your non-fiction book, The Great Derangement: Climate Change and the Unthinkable, you write that fiction writers should not treat weather events as surrealism or magical realism. How did you consider this episode (and others like it) when you were writing this book? 

As a brown person traveling in America, you have to be constantly hyper aware of your surroundings and everything that could go wrong.

AG: In every book one tends to put in one’s own fears and hopes and so on. I am always amazed about the things that phones and Bluetooth speakers do. How they suddenly come and you have no awareness of why they coming on and what they are on about. You know these things do happen. As a brown person traveling in America, you have to be constantly hyper aware of your surroundings and everything that could go wrong. I guess all of that set into it.

And about that scene that you mentioned in Los Angeles, you know the real strange thing was, that it actually happened that the Getty Museum was almost in the path of one the wildfires. The strangest part of it is that I wrote that section before it happened. It was jolting when it happened. That’s an experience that happened several times in the writing of the book. What I can say? It’s like fact is outrunning fiction when it comes to climate change. 

JRR: And also perhaps that fiction might have predictive qualities? 

AG: It’s something even weirder than that. It was uncanny. Things that were unimaginable happen around you. Just the other day, my friend sent me pictures of this massive hailstorm in Venice, which is another scene in the book. Another sent me pictures of tornadoes near Venice, which are very unusual. Another friend in Venice wrote to me and said he had to take his son to the hospital because he’d been bitten by a dangerous spider. It’s just so weird. (Writer’s note: A tornado and a strange spider make appearances in Gun Island.) 

JRR: What a difference between the people who get to move around the world freely and those to have to plot their trips and sneak past borders! Piya gets to fly and forth between India and the U.S. to research marine life, and Deen, despite his anxieties about money, is mobile and gets a paid trip to Venice to help with a documentary. On the other hand, Tipu and Rafi have to undergo extreme journeys to move. At the same time, Deen is somewhat jealous when Tipu tells him about crossing borders without passports. Deen recalls the amount of time he’s spent in “official” immigration processes. Would you talk about about this dynamic in the book please?

AG: Well, there is definitely a national and racial coding to who can travel and who can’t. Especially if you have an Indian passport as I do, it’s so glaringly obvious. Every time I get an invitation, I have to go and stand in some visa [line] somewhere where people often treat you badly. I think it gets so ingrained in you and that fear and anxiety remains with you always. I see the difference all the time. People who have certain passports, say American, Canadian, or Australian passports, just don’t have any anxiety. They know that even without their passports, they will be fine! These systems are so racialized that even when some who have Western passports have trouble. This is such a marked difference in the world. But you have to remember that the world we live in today is defined by travel. The largest industry in the world is tourism. 

One of the real elements behind this enormous movement you are seeing in the world is that people just don’t want to feel they are confined, that are in some kind of reservation that they can’t leave. That in itself creates a wild anxiety and yearning for movement. I myself am very aware of this. When I was 18 or 19, when I had just graduated from college, I was desperate to travel. I wanted to see the world. I read books by Naipaul, Octavio Paz, and all the great travelers. I wrote this letter offering to teach English and went to 77 embassies and dropped it off. I did get a couple of answers and they went something like this: “We have plenty of Indians of our own and we don’t need anymore.” Fortunately, I got a scholarship that let me go to Oxford. Often when I was talking to the young refugees and migrants in Italy, I really had the sense, I would have done exactly what they did. 

JRR: I spoke to your colleague Suketu Mehta about his new book. When we spoke, he said that we really haven’t seen nothing yet on the immigration crisis front, that when climate change really kicks in, we’ll see what crisis will truly mean.

AG: I haven’t read Suketu’s book yet but I plan to! When I read articles that he’s written, I get the sense that he’s approaching the subject from the point of view of is this a good thing or is this a bad thing? He’s obviously all for it, as indeed am I. I was more interested in how immigration was happening. In what way was it happening? The reason why this subject interested me so much was climate change. I made the assumption that climate change was the prime driver behind the movement but it’s not that simple. It is true that many, many of these people are displaced by climate change, especially those from Bangladesh, Pakistan, and parts of Africa. But there are other factors too. 

There is a national and racial coding to who can travel and who can’t. Especially if you have an Indian passport as I do, it’s obvious.

For example, I met this young Pakistani man in Italy. His land was swept away in a flood. He told me that if this had happened in an earlier time, he would have moved to a city or gone somewhere else and waited for the flood to subside and for his land to come back. But this time, he had his phone and he knew of this whole network of people who could help you travel. Instead of investing his money in his land, he decided to sell his land and go abroad.

A lot of this is happening because the systems exist, and these systems are not trivial systems. The human trafficking business is the biggest clandestine industry in the world, even bigger than the drug trade. It reaches very deep into society, especially poor societies. On top of that, you have the information system. If you are a poor kid in say Bangladesh or Pakistan—both of these countries have higher rates of internet penetration rates than the U.S.—you see these pictures on your cheap smartphone. You have social media and you are connected to people who can help you move. These technologies are absolutely at the heart of movement.

JRR: I fell in love with the character of Cinta. I want to talk to you about when she and Deen are talking about how the story of the Gun Merchant and Manasi Devi was not written down. She says “Maybe they believed the story wasn’t over – that it would reach out into the future?” What can stories do for us in this time? 

AG: First of all, I am really glad that you like her. She’s my favorite as well. She’s the main character in the book for me. But I have to say that I don’t think a book can do much. I’m not one of those who believe if you tell a better story, everyone will change their minds. I don’t think that’s the case. Sometimes the stories will help you understand and inhabit a certain kind of predicament. After my book The Hungry Tide came out, I saw that people who read it had a completely different way of relating and imagining the Sundarbans. I do think that in that way a story can make a difference.

JRR: In spite of Cinta’s tragedies, she has a lot of faith, something that Deen grapples with a lot. You have him praying by the book’s end. And there’s Piya whose belief system is science. Would you talk about the role of faith in the book, and dealing with climate change? The novel ends on a hopeful note. 

AG: I do think that we have a duty to work towards to a better outcome. I am not someone who thinks in terms of the apocalypse. That’s a very male Western thing, these apocalyptic narratives. I don’t want to be associated with that. I don’t think my book is climate fiction at all. It’s actually a reality that it is in hard circumstances that humans often discover joy and faith. When you talk about people who’ve been through wars, they talk about how terrifying it was but also how it gave their lives deep meaning. The same will be true of this time and you see that already. Every time there are these floods or other catastrophes, you hear people talking about coming together, how there was a sense of renewal and hope, and so on. Climate change is all around us and it affects us in different ways. If the reality we live in now alters our mind in relation to what we think about, I think that it is a positive. If we stop thinking about commodities and constantly writing about pop culture, and think about deeper human meanings, I think something positive is already there.