10 Books About Trying to Survive Under Late Capitalism

My father was an accountant and yet we hardly talked about money in a way that was calm, rational, or made any sense to me. I remember my mother—overworked from raising us, keeping the house together, taking care of my father, and working a full-time job—hunched over the checkbook in the dining room while she paid the bills. Sometimes when she was fighting with my father, she’d say, “Let’s go to the mall,” and we’d spend money. Later when my parents got divorced, I saw how money can divide a family even further.  

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I’ve always been interested in who has money and who doesn’t. And like most women, people of color, artists, teachers, parents, queer, and trans people I know, I never have enough money. I have student loans, I live in an expensive city, I make half of what my tenured colleagues make, I’m a single mom, and I work a couple of different jobs. I’m not special that way, and I’m lucky enough to have health insurance when so many Americans don’t. It’s called the gig economy.  

When I first visited Occupy Wall Street, I was amazed at the world the protesters created and their focus on debt and Wall Street accountability. They shifted the narrative about debt in this country and they moved it out of shame and into the light. A couple of years later, when I began to work on my debut novel The Not Wives, I knew that Occupy, gentrification, and strong, sex-positive women in financial precarity would be at the heart of the book. Because those are the women I know and love, and the world so many of us live in right now in Trump’s America.

What gets us through late capitalism and gigging? Friends, lovers, family, art, activism, dancing, and for me, books! Here are just a few of my favorites.  

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Little Fish by Casey Plett

If you believe that sex work is work, then you’ll be happy to know that there are a couple of books I’ve loved in the last couple of years that treat it as just another gig with ups and downs, bad days and good days. Little Fish by Casey Plett won the 2018 LAMMY for best Transgender Fiction and tells the story of Wendy Reimer, a trans woman living in Winnipeg, Canada. After the death of her Oma, Wendy receives a phone call from a distant family friend, who tells her that her Opa might have been transgender too. I loved this book for many reasons—its frank treatment of sex and dating for a trans woman, the closeness that Wendy has with her father, the tight friendships between trans women both queer and straight, and the loving and truthful way Plett deals with suicide, family, and religion. When Wendy loses her job at a gift shop, she returns to sex work because it pays well and allows her to make her own schedule. It’s not a harrowing plot point or a failure. As Plett writes, “She felt okay about where her life was headed.” I savored this book and I was sad when it was over because I’d grown attached to Wendy and her friends.  

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Sketchtasy by Mattilda Bernstein Sycamore

Sketchtasy was also nominated for a LAMMY for transgender fiction (we need more awards for trans writers!). The novel takes us back to homophobic Boston in the mid-90s when queer desire and HIV status were inextricably linked. Written in roving, ecstatic, runaway prose, Bernstein Sycamore conjures up Alexa—a smart queen who has been through some tough shit. This book captures life on a dime, sex work, sexual abuse, trauma, clubbing, and drugs with such honesty and insight that I wanted to get dressed up in my Salvation Army green pleather skirt and go back. Nobody writes like Bernstein Sycamore. I am especially in awe of her dialogue and voice, and the book’s fearless fuck you to capitalism, homophobia, and gentrification.    

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Give It To Me by Ana Castillo

I laughed a lot when I read Give It To Me by Ana Castillo and I’ve really never read another book like it. Our protagonist is Palma Piedras, a bisexual 43-year-old divorced Latina who tries to find her parents, while rekindling a love affair with her cousin who just got out of jail, and working as a translator and Hollywood extra to pay the bills. There are too few books with sex-positive bi/pan women at the center, and I was delighted to follow Palma through hook-ups, revenge sex, and lovers who aren’t always what they seem. The book is tender too, as Palma remembers her childhood with her difficult abuela and lazy uncle, reunites with her family, and grapples with the freedom and solitude of middle-age. Palma’s cheeky asides, mix of Spanish and English, and her love for trouble make this an unforgettable book about scraping by as your complicated, wounded self.  This book, and Palma too, are 100% hustle.  

Severance by Ling Ma

Speaking of hustle, there is no protagonist willing to work as hard as Candance Chen, a millennial office drone who specializes in Bible sales in the riveting, scary, and unputdownable novel about the end of the world. Set in a New York City decimated by Shen Fever, Candance eventually leaves the city and winds up in a survivalist religious cult run by a sad man that some of us have definitely dated. Sure there are uncanny, scary zombies in this book, but at its core Severance is a book about grief, loss, and the rituals we’re made to enact in order to survive. Ma’s ability to craft a believable deserted New York, left with only a few workers and armed guards is deft and terrifying.  

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Lucy by Jamaica Kincaid

If you can’t do futuristic zombies, why not babies—another dank engine of the gig economy since we don’t yet have universal daycare in this country? I love everything Jamaica Kincaid has ever written, but Lucy is my favorite. Kincaid published this slim gem in 1990 New York and it’s a thrilling groundbreaker about a young immigrant from the West Indies who becomes a live-in au pair for a wealthy white couple and their four perfect children. When I first moved to NYC, I babysat to survive, and briefly I was a nanny for a family not unlike the one Kincaid describes. Eventually, I ran away too. Kincaid writes with fierce honesty, disdain, love, and wit about the stupidity of white people, sexual longing, art-making, and loss. I reread the book in just three hours. It’s perfect.  

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Sleeping on Jupiter by Anuradha Roy

If you have a heart, this book will break it. The novel is told from the perspective of multiple characters who converge in the seaside town of Jarmuli, India including a documentary filmmaker, three women in their 60s on vacation, and a temple guide. Roy explores sexual abuse, queer love, parenting, adoption, trauma, religion, and migration with care. I’ve read this book three times, and each time I find something new to admire. Roy’s craft is like no other, and she’s able to get so much feeling and action into one town. It’s easy to see why Roy is considered an activist and a novelist because she links these parts of herself fearlessly in all of her books. I was especially moved by Bodah’s daily grind as a temple guide and the young boy he falls in love with, Raghu. Johnny Toppo, the seaside coffee and chai vendor, is another unforgettable character in literature—traumatized, forever working and singing, and full of secrets.

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Landscape with Sex and Violence by Lynn Melnick

One of the best poetry collections I’ve read in a long while! Melnick writes into vivid neon life, a late 80s world of Hollywood California, sex work, rape, teenage freedom, Courtney Love’s band Hole, part-time jobs at video stores, and panhandling on the Sunset Strip—all amidst the lush greenery of California. Written with humor, honesty, and a fuck-you aesthetic that we need more than ever in this time of Jeffrey Epstein and Larry Nasser. Melnick’s book kicks the patriarchy’s ass while also staying tender and true to girls and women. In one of my favorite poems in the collection, Melnick writes, “Lynn! they lied to you/don’t you know?/Your womb will be the first thing to heal./What you smell is pleasure, not the rot of the thing/amid the waste/You will have babies./You will write poems about flowers that turn on in darkness.”    

Psychopomps by Alex DiFrancesco

This collection of personal essays by the unflinchingly honest and deeply reflective DiFrancesco, had me from the beginning. DiFrancesco writes about New York City, dating while trans, their girlfriend leaving them, their toxic family, mental illness, and trying to eke out an existence in a bookstore and as a baker in New York City and Ohio. The book is also a testament to queer history, trans families, and the kinds of friendships that happen when we’re drunk and lost. I am deeply in love with the titular essay in the collection about Vivian, a trans mom, who tries to save as many trans kids as she can, and is often righteously and understandably angry. There’s also an essay about a gay man who was murdered in the town DiFrancesco grew up in, Bobby Evans, an exploration of a trans and queer murder that asks us all to consider the stories and ghosts we’ve hidden or tried to ignore because it would be easier.  his book asks us to consider some hard shit, and why shouldn’t we? Still, I read it in two hours and held it to my heart when I finished.  

Paul Takes the Form of a Mortal Girl by Andrea Lawlor

Paul Take the Form of a Mortal Girl by Andrea Lawlor

Paul Take the Form of a Mortal Girl is another dreamy novel set in the 90s. Paul has magical powers and can shapeshift into a woman with a pussy, Polly, and back again to Paul with a dick. Paul can also grow his dick and muscles to fit into queer subcultures and bars of his choosing. The fantasy of this book is joyous and as one of my trans students said when we read it in class, “I’m jealous of Paul.  I want this for all trans people.” Wouldn’t it be an amazing world? No medical interventions, just joy and fucking and getting dressed and going out, and transformation when and how you want it. Paul is one of my favorite characters ever, and it’s a joy to see Lawlor play with his sexy, funny, smart mind as he travels from the Midwest to the Michigan Women’s Fair, to P-Town, and then to San Francisco. Paul is a bar back, a dishwasher, a queer bookstore clerk, and along his journey, he’s counting his money because like most of us, he’s on a tight budget.  The sex in this book is hot and dirty, just like I like it.    

We Are Never Meeting in Real Life. by Samantha Irby

We Are Never Meeting in Real Life by Samantha Irby

This is my go-to book for anyone in a bookstore who doesn’t know what they want. I give them Samantha Irby and their lives are forever changed. I laughed really hard when I read this book. I might have peed myself, but that’s okay because this is a book that among other topics covers shitting yourself, Crohn’s Disease, being poor, learning how to eat pussy, staying fat, making rent, getting shit delivered, buying a strap on, and falling in love with a woman. With essay titles like, “You Don’t Have to Be Grateful for Sex,” “Fuck It, Bitch. Stay Fat,” and “Yo, I Need a Job,” I can’t really see what you’re waiting for. Get the book. Get all of these books.  

Watching You Through Windows, Hearing You Through Walls

My Neighbors

I listen to them at night, the neighbors making love. They don’t always make love. Some nights they fuck. Some nights they screw. Some nights they bang. Some nights it’s more about her. Some nights him. It’s never equal because it never is. Some nights it’s not night but I usually go to sleep afterward because after coming comes shame.   

But when I can’t sleep, when I am out of sleep and there is only shame, I listen closer. Nestled in a tiny crook of my tiny apartment that is not mine, in my tiny building that is not mine, beside my open window adjacent to their open window, our sounds walled in by the airshaft. He asks if she picked up soy sauce and she says she got tamari and he says he likes soy sauce and she says you don’t know the difference and he says I got a promo code for the rental car, 20% off, and she says that’s fucking amazing, and he says it’s not like your sister’s going to stay married to this assclown and she says don’t start please don’t fucking start we’re going, and there is silence and it is in the silences that I feel every pulse in my body. It is in the silence that I wait for the silence to end and it is everything.

I love you he or she says. I love you he or she replies. I want to masturbate again only slightly more than I want to kill myself. So I masturbate and don’t kill myself and then a new day.

This is my secret. It’s the only one I have. I do not know them. I have never known anyone so completely. I don’t look at them in the hallway. I wish they looked at me. They are not attractive. I want them always. Their sex arouses me like no lover or gem of pornography ever has. I have always been more comfortable with other people’s intimacies. I have always trusted witnesses over participants.

At the library, I charge my phone and ask the Internet if I am wrong to listen. The Internet says I am. I am a pervert. I am voyeur. I am violating the sanctity of their home and the social contract by which all moral homo sapiens agree to live.

I ask again, and the Internet says I am not wrong.  I am in my home and these are their sounds, their lovemakingfuckingscrewingbanging, that are violating my space. Sound travels by waves, the Internet explains to me. There are no listening waves. I am a victim. I am harmless. My innocence is a law of physics. I prefer this answer and the next time I see them together I nod. He nods back. She doesn’t notice me.

That night they fuck and screw and I come so hard my legs give out and I sigh and I pray that they hear me but they don’t because they are still focusing on each other and I hate myself with a certainty so profound it must be divine.

Weeks pass. I hear nothing from them. See nothing of them. One night, I’m woken by clumsy footfalls. Key fumbling. Their drunk sex is my favorite. It is rare and loud and unforgiving and I’ll remember more than either of them. I get naked. Crouch by the window. My sweaty back plastered to the drywall, so horny I am lightheaded, so lightheaded I am free. I wait and I wait and I wait and wait, losing my freedom, and then I hear them. He’s coughing and then he’s hacking and then he’s vomiting. It sounds like a bucket of water poured onto a rusting chainsaw. Her voice is steady long after his goes silent. I stay by the window. I get myself off. I am angry and I do it angrily, and I leave myself raw. It feels honest and I hate them.

A week later, I see him on my way to the food pantry. He looks sallow, thin.

Two days after that, coming home from the library, I see her. She looks like she’s been crying from the moment of conception, like her mother told her that the secret to soft skin is abject misery. I say hello. She does not look at me.

At first, I assume he is sick and then I know he is sick and then I realize he was never sick but simply dying and there is a difference and that difference is hope. Sex was two three maybe four times a week. Dying is every day, every night.

I listen.

Some nights he wheezes. Some nights she bawls. Some nights he is in agony. Some nights she prays aloud. Some nights it’s more about him. Some nights her. It’s never equal because it never is.

One evening I come home to this place that is not a home but it is where I live and will die and in between settle and settle for less and less and less, and their apartment door is open and the apartment is empty and everything is gone and I walk into the bedroom and I stand by the window abutting the airshaft, the window from which I cannot see my window but I hope they heard me, even if they listened separately and never told each other, like I was an inexplicable secret between lovers, like I was a life worth eavesdropping on, and I open the window higher, stick out my head farther and farther, staring into my apartment, empty of life and longing and voice, and then farther still, into this dank cloister, listening for anyone. Anyone at all.   

Why Aren’t White Writers Asked About Authenticity?

I cannot describe interviewing Tash Aw as a dream come true. This is because I did not ever imagine the possibility of interviewing Tash Aw. During the many years that I was an aspiring Malaysian writer, I followed Aw’s career spanning three novels and a slim memoir, always thrilled by his reinvention of styles with each successive book. His novels, whether set in Malaysia, Indonesia, or China, all attempt something new while maintaining cores of empathy for our common foibles.

Aw’s celebrated debut novel The Harmony Silk Factory came out not long after I published my first short story. I remember having questions when I read the book, questions that I tossed off into the void as unanswerable. Years later, I find myself squinting to retrieve them for this interview. How does one thrive as a writer in English while living far from the publishing hubs of New York and London? What does it mean to write precisely for those who might never read our words?

I thought I had moved past these questions, but now I know that they had only been pushed to the back of my mind, waiting. Something lifted when I shared these questions with Tash Aw. 

In the second part of my interview with Tash Aw, we talked about being writers of outsiders, who gets to be a “real Malaysian,” and the questions that aren’t asked of white novelists. Translations below are mine. Read part one of the interview here


YZ Chin: You’ve said that you felt to become a novelist was about as likely as becoming an astronaut. What was the impetus and process of internal transformation like, for you to eventually pursue the career of a novelist? Many writers, when asked, will say they have “always known” they wanted to write. I’m curious about other paths to authorship.

Tash Aw: I hear that too—usually from established writers—and wonder if it isn’t their way of glossing over the uncertainties of the path to authorship and claiming a sort of genius, or at least a talent so raw and powerful that it left them incapable of being anything other than a writer. Knowing that you want to write isn’t the same thing as knowing that you will be writing ten or twenty years later. But I guess there is at least that knowledge of what it means to write. To have the desire to write requires the existence of role models who inspire those ambitions, who show you that it’s possible to make writing a part of your life—a part of normal, regular life. 

To have the desire to write requires the existence of role models who inspire those ambitions.

When I came to university in England I suddenly met people—other students—who were “going to be writers.” That’s what they said when I asked what they thought of doing after college. Then I found out that their parents were writers or editors themselves, or at least academics, or artists. They knew how Flaubert and Virginia Woolf had lived, they’d been given Chekhov’s journals as Christmas presents when they were sixteen by parents who wrote art monographs for a living. They had a writer’s life laid out for them—a particular kind of writer’s life. I’d been writing stories secretly, for no other reason than simply to describe to myself the world I came from, which existed so marginally that it didn’t seem to have a literary life at all. On hearing these students speak, I knew that I wasn’t going to be a writer in the same model. I was going to have to figure it all out myself, work out how to be a writer from outside the world they lived in, with my own set of priorities and rules for living. 

YZC: When my first ever story was published, I excitedly showed it to my parents. They read it and told me they didn’t “get it.” I have been haunted by that ever since, the idea that who I write for does not include my immediate family. If it’s not too personal a question, does your family read your books? How do you feel about that either way?

TA: I know how that must have felt for you—it’s such an unsettling experience to discover the disconnect between how you feel about your work as a writer, and how your closest family see it. And it’s not just your family—it’s your closest friends from school, the wider community. It’s a question that writers who don’t come from long bourgeois traditions have to deal with: how to write for and about people who might never read your work.

The truth is that I don’t really know whether my parents have read my books–we certainly haven’t had any meaningful conversations about them. My sisters have absolutely read everything I’ve written, but that’s not a surprise, given that they have the same kind of educational background as I do and are on my wavelength. But I’m still not sure about my parents–I think my father has, but I’m fairly certain my mother hasn’t attempted the novels. They’re long books, and for people who are not used to reading 300-plus pages, it’s not easy, particularly in a language that isn’t their mother tongue; so I’ve never made an issue of my writing, never put any pressure on them to read. But, as you say, we are Asian writers, and Asian children, exploring the world we live in. And that world involves our parents. 

One of the main reasons I wanted to write Strangers on a Pier, which is only 12,000 words long and makes a very short book, is that I wanted to make my writing accessible to those closest to me, whose lives inform every sentence I have ever written, but who would be intimidated by a long novel. I wanted to write something that was very obviously about them, addressed to them, in terms that would be as familiar to them as to someone who lived in Ang Mo Kio [in Singapore] or Balik Pulau [in Penang, Malaysia] or Park Slope [in Brooklyn, New York]. The physical size of that book was therefore crucial. 

I told my parents it was about them, and that it was short, and maybe they should read it. I’d never done that before, and didn’t have any expectations. Eventually my mother rang me and said she’d read it, said she’d liked it, but that I got one detail wrong: when I said that my grandfather had arrived in Malaysia on his own, that was not true. He hadn’t been on his own, he’d been with another boy from his village in Fujian province. My mother knew this because, one day when she was still a child, the family received a call from Tanjung Rambutan, the local psychiatric hospital. There was a man, the hospital said, who was totally lost. No family, no home. The only name he had, the only person he knew, was my grandfather. My grandmother said, no way, don’t let that man into the house, he will bring bad luck. But my grandfather insisted, said he had no choice; so the man came, moped around the house silently for a few days. Then he drowned himself in the river, just thirty yards away. 

I asked my mother why she had never told me this story. The whole of Strangers on a Pier is about the silences that exist within and shape the identity of families, especially immigrant families. Asian families. Our family. ‘Aiya,’ she said, briefly, before ringing off. ‘Such a boring story.’ 

Once I got over the initial feeling of being dumbfounded, I understood that it was her way–that very oblique, old-fashioned Asian way that I’m sure you know all too well—of saying to me that she cared about my work, that she knew it was important to me, that she was touched by it; but, also, that she would never fully be part of it. Her priorities were too different from mine; all her life she had fought to achieve different things: a sense of self, of being a strong-minded woman in a time and a society that didn’t encourage that identity; to protect and raise her children with the limited resources available to her. In the moments after I hung up the telephone, I thought about the gulf between our respective experiences. Her struggles were real. She had been living them, consumed by them; I was only describing them. 

When you write about the people who are your own, who live outside the circles of middle-class dominance and who are therefore invisible in literature, you think that your work is the most important thing to them, since it’s the most important thing for you. But the truth is that they are too busy fighting the battles they have always fought to pay much attention to what you are doing. Your role and mine—that of the writer of outsiders—is just our way of continuing those struggles.

YZC: There’s a lot of bold imagination and drama injected into the characters’ narratives in your first novel The Harmony Silk Factory, whereas in your latest, We, The Survivors, the character’s story feels stripped down, consisting mostly of evocative everyday minutiae. 

Do you think the role of storytelling differs for different social classes? Or has your thinking about that role changed over time?

TA: I see both the flamboyant storytelling of The Harmony Silk Factory and the stripped down portrait of Ah Hock’s life in We, The Survivors as part of the way Asia sees itself — the way we are trying to create modern narratives about ourselves in a rapidly changing world. For all the decades since the Second World War and the beginning of the end of colonization, we’ve fought to define our political and cultural identity, and that has required us to fashion new ideas about our histories, which in turn determine how we envisage our future. 

I’ve never heard any white middle-class writer asked whether their novel is ‘truly English’ or ‘truly representative of the American mentality.’

In The Harmony Silk Factory, the characters are all engaged in myth-making on a monumental scale. It’s the only way they can deal with personal tragedy; with sacrifice; with loss; with emotional trauma; with having made terrible choices that they knew, even at the time, were mistakes. They made choices—in love, in work, in friendships—that they knew they would regret later, and yet they did so because it seemed like the only way they could survive in a confusing, chaotic world. Later, they had to invent stories about themselves in order to make everything seem stable and acceptable in their lives. In that way, they did exactly the same thing that Malaysia and Singapore and most other countries in Southeast Asia did on a national level.  

The narratives that the characters in The Harmony Silk Factory created for themselves are based on the same, simple story that drives all of contemporary Asia: once we were poor, but now we are rich. Times were hard, now they are good. Now we can match the West in every way; in fact we are superior to the West. We believe in the hubris of modern Asia. My problem with this narrative is that it denies the complexity of our stories, pushes out the deeply troubling ways in which we have had to silence our fears, sacrifice rich human emotions and all kinds of social justice in order to fit into this smooth story of success. With that novel, I wanted to burrow underneath that shiny surface and talk about all that we gave up in order to become a modern, middle-class country. 

But now we have reached a situation where it’s very hard to believe in this simplistic trajectory of growth and social mobility. “If you just keep your head down and work hard, things will turn out ok, you can achieve anything you want.” People like Ah Hock–incredibly hard-working, naturally intelligent, sensitive, with a high tolerance of suffering–can strive as much as they want, but they will never enjoy the same lifestyle as the urban middle-classes because they don’t enjoy the same education, the same parental support, the same conditions that help them find a stable job. I wanted to question this idea of agency in Asia, this belief that you can change your life simply because you want to. It’s a way of thinking that places the blame squarely on the individual if she or he is poor or deprived. I hear affluent people in town saying all the time: Well, what do you expect, if she’d worked harder at school, she wouldn’t be a shampoo girl/waitress/gas station attendant. We deny collective responsibility, deny the fact that social factors weigh heavily on our lives. But people are starting to realize that we live in an unequal society, and no matter how much personal will you have, things might be stacked against you. 

YZC: Your new novel addresses some themes from your previous nonfiction book Strangers on a Pier, such as Asia’s stigmatization of poverty as personal shortcoming, and certain immigrants and their descendents’ tendency to accept hardship as a given. What are some differences for you between exploring a subject in fiction versus in nonfiction?

TA: They are part of the same conversation for me—I see them as complementary ways of exploring ideas that are important to me. I wrote Strangers on a Pier fairly quickly, because I wanted to address something in a rapid, direct fashion. It was about the immigrant family through the lens of my own family, and I don’t have to explain to you how difficult it is to confront stories of a Chinese-Malaysian family, shielded by the silence of parents in their late 70’s who are hugely resistant to the idea of talking about themselves. I felt I had to write about that distance between me and them, the same distance that exists in virtually every immigrant family I know in virtually every country I know. Nonfiction seemed a quicker way of dealing with these sensitive questions—I wanted to write it before I lost my nerve. Talking about things like mental health and poverty within the family experience–which don’t seem unusual in the West—felt incredibly difficult, and I didn’t want to risk losing the momentum. 

For the longest time, growing up in Malaysia, I had no idea that my family was an immigrant family. I just couldn’t equate being Chinese with being an outsider. The fact that we spoke Chinese at home, and that I knew that some of my grandparents had come to Malaysia from China, didn’t affect my single Malaysian identity. I was some way into my teens, after years of hearing casual remarks like Cina babi [“Chinese pig”], Balik Tongsan [“Go back to China”], that I realized these comments were aimed at me, and not some random, unknown, foreign Chinese person. I realized that the political structure aimed to exclude me, and not some other vaguely foreign person. 

I realized just a few years ago that my parents must have fought very hard to give me that untroubled “Malaysian” identity, and that they must have had to suppress their own instincts to connect with their racial and cultural heritage simply in order to make life happier for their children. Realizing this made me sad, and my instinct was to push that feeling aside, not to acknowledge it. If I’d spent years writing a novel just at that point, I might have flattened out that sadness, tried to make it prettier and more acceptable. I wanted to capture the immediacy of how I felt. 

YZC: Raman Krishnan, publisher of Malaysia’s Silverfish Books, called We, the Survivors your first “truly Malaysian novel.” As someone who struggles with the concept of authenticity, I had mixed feelings when I read that. But I’m projecting again, of course. How do you feel about it? Has your thinking about how to write for a “global” audience that may be unfamiliar with your novels’ contexts evolved over your career?

TA: I didn’t see Raman’s comments, so I can’t address them directly, but in general terms, like you, I’m troubled by the notion of authenticity. It seems to me that only writers from outside the dominant white, western, middle-class canon are subject to questions of authenticity and veracity: writers of color, Asian and African writers, LGBTQ writers, writers who come from working-class backgrounds. 

Writers from outside the canon are constantly subjected to higher levels of scrutiny, as if we have to justify our existence in the publishing world.

I’ve been writing and attending festivals and readings for over twenty years, and I’ve never—not once—heard any white middle-class British or American writer asked whether their portrayal of dinner parties in North London is “truly English,” or whether their novel set on an Ivy League campus is “truly representative of the American mentality.” Those writers are never asked, “So, who do you write for?” (The suggestion being that you’re making up stuff just to sell books). Readers simply judge those books on their own terms. Writers from outside this canon are constantly subjected to higher levels of scrutiny, as if we have to justify our existence in the publishing world. 

It all seems to me to be somewhat colonial, and we need to question why this still exists; why we, as Asian readers ourselves, have ingested this essentially western need to doubt our own experience. Asian writers have as much power as anyone to commit to stylistic inventions, to thematic experiments; we have the right to fail at these just as any other writer does, to be unconvincing, or to be magnificently persuasive. We need to allow ourselves those freedoms—if we don’t, we are essentially surrendering the terrain of publishing to those who already dominate English-language publishing, which makes literature poorer and less interesting for everyone, all over the world. 

My thinking about writing for any audience hasn’t changed at all since my first novel. I’ve never thought of readers in separate categories, and the question of who will read my writing never arises until the editing process, when my editors ask to clarify certain matters. Obviously, some readers will find greater resonance in my work than others, because they know the geographical or cultural spaces I talk about. (I’ve had many messages from friends in Malaysia recently, people who grew up in Klang and knew the exact spots I write about in We, the Survivors.) I’ve always assumed that writing is universal in its specificity. The books that spoke to me most intimately when I was younger were those by writers like James Baldwin, Toni Morrison, Alice Walker, Marguerite Duras, Pramoedya—whose circumstances couldn’t have been more different from mine. 

To take the point further, I find it troubling to talk about what a “real Malaysian” novel is, because it’s an extension of the question of what a “real Malaysian” is—a mentality that aims to exclude, rather than include, people. Is someone “really Malaysian” because they were born in Bangladesh? Because their parents immigrated from China? Because one of their parents is African, and they don’t look “really Malaysian”? Because they live abroad? Like so many countries these days, Malaysia functions on the politics of exclusion. We’re obsessed by finding ways of defining ourselves in the narrowest possible manner, in which various groups of people are pitted against each other rather than left to form naturally inclusive communities. 

YZC: I like that“writing is universal in its specificity.” If your thinking about audience hasn’t changed since your early writing days, what has changed? What about writing, or being a writer, has morphed for you over the course of five books?

TA: I don’t know—on the one hand, it feels as though nothing has changed. I still struggle with every book, I still doubt whether any line that I commit to the page is worthy of being written, never mind published. Artistically, I still feel anxious, I still feel that I’m testing my boundaries, and that there’s so much I want to achieve in my writing but never will. I’m not sure if I like that feeling of insecurity but I’ve come to appreciate it as something fundamental to a writer’s life.

I guess I’m more comfortable these days about saying I’m a writer. For the longest time, it used to feel so fake, so forced—as if I was claiming an identity that wasn’t mine to claim. That fear has at least abated even if it hasn’t dissipated entirely. Writers like us, who don’t come from long lines of writers, have to work harder to anchor ourselves in our literary identities. Life had other plans for us, pushed us towards other jobs, other ways of living, but instead we’ve fought to have this one. After all these years, I’m finally starting to inhabit this life fully.

Why It Matters That Amazon Shipped Margaret Atwood’s “The Testaments” a Week Early

Back in May, I signed an embargo agreement on behalf of my bookstore stating that I would “ensure that [The Testaments by Margaret Atwood] is stored in a monitored and locked, secured area and not placed on the selling floor prior to the on-sale date.” The idea behind such agreements is that retailers must sign them in order to receive their inventory in a timely fashion, a common practice for newsworthy, highly anticipated books with huge print runs. This was certainly the case when I was responsible for getting these affidavits signed on behalf of Simon & Schuster, where I worked in sales from 2003–2005.

On Tuesday, September 3, customers began reporting that Amazon.com was shipping copies of The Testaments already, and in fact that many have received their orders that day. The official on sale date for this book is Tuesday, September 10, a rare international embargo date. Most books go on sale on Tuesdays in the U.S. and on Thursdays in the U.K., and a universal date only happens for the highest of profile authors. Breaking such a significant embargo is a newsworthy event in the weird world of bookselling.

It’s hard to imagine Jeff Bezos getting too worried about a financial penalty.

I do not expect that Nan A. Talese, the imprint that publishes Margaret Atwood’s books in the U.S., or Penguin Random House, the corporate entity behind that imprint, will pursue any of the theoretical consequences Amazon.com might face. Even for smaller retailers, the effects of breaking an embargo are generally practical rather than legal: publishers may hold back future sensitive shipments, forcing the bookseller to turn people away when they come looking for the hottest new book on release day. The terms of the agreement I signed state that if the embargo is broken, the publisher has the right to withhold “resupply” of the book, meaning they would not ship any more copies for a period of time. But even if PRH did hold back reshipments of The Testaments, that would do nothing to stop third party vendors who use Amazon.com as a marketplace from selling copies, so it seems unlikely that it would ever be completely unavailable on the site. The agreement also refers to remedies “in equity or otherwise,” and “injunctive relief.” My employees who formerly worked for Borders (RIP) and Barnes & Noble both were told in the past that their employers would be fined monetarily if they sold books prior to embargo dates. It’s hard to imagine Jeff Bezos getting too worried about a financial penalty. 

For smaller booksellers, embargos are serious business. I once posted a photo of a SEALED carton of Harry Potter and the Cursed Child on social media, which was in fact (bafflingly) in violation of the embargo agreement I had signed with Scholastic in order to receive the books in time for a midnight release party. I got a call from my sales rep on a Sunday morning asking me to take down the photo, which I did immediately. I was terrified that the publisher was going to punish me through delayed shipments of key titles after that, which was how I had been made to understand the consequences of violating embargo agreements. But I’m betting there will be ZERO consequences for Amazon violating not just the fine print but the entire basis of this agreement, which some exec surely signed digitally through Adobe Sign just like the rest of us did.

The real problem is that even a publisher the size of PRH can’t afford to muddy its relationship with Amazon.

The real problem is that even a publisher the size of PRH can’t afford to muddy its relationship with Amazon. Preventing its biggest customer from selling what might turn out to be the biggest book of the year would only hurt the publisher in the long run. Amazon.com has taken retributive measures in the past against even large publishers who tried to fight their policies. And when a company gets this large and this powerful, too powerful to punish or risk alienating, the contracts the rest of us live by become meaningless. The best I can hope, as the owner of a small bookstore hoping to sell a good number of this book, is that The Testaments is a high enough profile publication that federal anti-trust lawyers will finally see exactly how unlevel the bookselling playing field is. (And in fact, the American Booksellers Association has reached out to the Department of Justice and the Federal Trade Commission about this incident and the patterns of which it is indicative.)

The kicker is that Amazon will make hardly any money selling this book. Books (especially big splashy publications like this) have always been a loss leader for them—whereas I and many other independent retailers are counting on this release to pay our bills. Penguin Random House has made a public statement to the effect that it was only “a very small number of copies” were released early, but The Guardian reports that it was around 800 copies—a small number in terms of the expected print run, but huge to a small retailer like me. If I were to sell 800 copies of this book, the income would pay nearly a year of wages for one hourly full-time employee at my store. “A very small number” is a relative term. 

I understand the marketing strategy behind strict on sale dates, and as a member of the book industry, I respect it. For the most part it’s a ploy to push books onto the elite New York Times Best Sellers list, by concentrating initial sales into one calendar week. But you can’t argue that embargo agreements matter if your biggest account gets to be the exception. As Tom Stoppard wrote in Rosencrantz & Guildenstern Are Dead, “There may be nothing behind it, but it doesn’t make any difference so long as it is honored.” Don’t tell me to honor something and then look the other way when the big dogs spit on that agreement.

A Victorian Novelist Attempts To Write Queer Characters Without Getting Censored

The Resident At Christopher St. 

He was a peculiar man, certainly. He was not peculiar for his stature, nor his gait, nor his standing in society. Yes, he held an interest in astrology, but that was not peculiar either. Nor was it peculiar that he did receive fifteen hundred a month, as was the custom of the day. He did, however, from time to time, entertain a close friend in his flat, and hopefully by now one gets the gist of the exact way in which he was “peculiar” without having to come out and say it.

A Fabulous Socialite

A woman of style, Miss Hughes delighted the less adventurous with her daring taste. Sometimes she appeared as a coquette, with a curl of hair daintily askew. Sometimes she appeared as a dandy, in colorful suits and a handsome boot. She was known as a socialite, with a surprising array of close friends, both men and women, and everyone agreed she was incredibly brave for it. Also brave? This author, for including Miss Hughes in the narrative at all.

A Most Amiable Correspondence!

Miss Whitlock and Miss Davies composed each other letters throughout the month: “I do so admire you,” “no I do so admire YOU,” “I find you quite admirable,” “perhaps we should admire one another in person, at Mrs. Shaw’s salon this coming fortnight,” and so forth. They were friends, but not yet close friends, and that made it all the more exciting, especially given that at any point they could be tried for profanity for using the word “admirable.”

On Matters Of Public Perception

Beverly opened the closet with a great deal of incredulity. How was one to choose between dandy, gentleman, ruffian, spinster, lonely governess etc. for the day’s appearance? In fact, it was all so overwhelming that Beverly didn’t dress or go outside at all, and became a side character who was always wandering indoors in a nightgown.

A Web Of Close Friendship

“Previously,” said Mr. Ashley, “I was close friends with Mr. Chattermore, however our close friendship grew more distant when he became even closer friends with Mr. Allen and Mr. Griffiths, who are themselves close friends of each other but the latter of whom also previously had been a close friend of mine, because their friendship is an open close friendship. But the thing is, recently Mr. Chattermore has been insisting that we revive our close friendship, collectively, hence my confusion.” In a sobering turn of events, they were all arrested for indecency later that day after being accused of having wrists.

The Ladies Who Cross-Stitched

The women spent the night sitting chastely side by side, making small cross-stitch patterns with unmentionable sayings on them, a twinkle of close friendship in their eyes, and nothing else happened. At all.

The Leather Shoppe

Upon noticing Mr. Phillips had taken interest in the hardware, the leather thonger, eager for a sale, approached.

“Perhaps you’ll find these useful in entertaining a close friend or two.” said the craftsman, gesturing to several sturdy riding crops.

It’s actually more of an acquaintanceship that happens once a month. Even though we all know it shouldn’t, because of God.

“Oh,” said Mr. Phillips, flushed by the brazenness of the leathersmith, whose strong arms seemed so assured, in both the crafting and sale of goods, “It’s not a particularly close friendship. It’s actually more of an acquaintanceship that happens once a month. Even though we all know it shouldn’t,” he added, nervously, “because of God.”

La Douleur… De L’amitié Intime

Miss Wood returned from her studies in France quite distressed. Though she had enjoyed the countryside and the cuisine, she had developed a close friendship with a French countrywoman, Miss Chevalier, with whom she had explored the streets and coffeeshops of Paris, and, upon their parting, had become quite inconsolable.

“Aah, well, there is no greater delight than going to Paris with a close friend,” said Madame Clarke, who had herself taken a semester abroad in France in her younger years.

“Oh yes,” said Miss Wood, gripping the arm of the settee rather strongly, “We went to Paris over and over. It seemed we would never tire… of the sights of Paris.” Miss Wood eventually succumbed to hysteria, and the author’s manuscript was finally seen by a publisher.

Close Friends Indeed!

The two men, both unmarried professors, were buried in a single grave, literally on top of one another. They were close fr— in fact, they were barely even that, one might say they were more like roommates.

The Life of a Male Writer, Told By the Women Who Couldn’t Write His Story

In The Sweetest Fruits, Monique Truong ventures around the world with Lafcadio Hearn, the Greek-Irish writer who was famed for his chronicles of Japan and New Orleans—reimagining his stories through the eyes of the women who journeyed with him and who undertook epic adventures of their own.

The Sweetest Fruits by Monique Truong
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Truong begins in 1854 with the voice of Hearn’s mother Rosa Antonia Cassimati, relating his origin story. She moves forward to 1906, west to Cincinnati, and Alethea Foley, a formerly enslaved African American woman who was Hearn’s first wife. Foley offers the story of her life with him to white reporter. The final character is Koizumi Setsu, Hearn’s second wife and literary collaborator of his Japan works. Truong weaves in the voice of Elizabeth Bisland through excerpts of her biography of Hearn. The novel forms a glorious imaginative reclamation of the stories of those who loved and nurtured Hearn and his storytelling. 

I spoke to Monique Truong about who gets to tell stories, the missing voices in history, and why she resists pinning the concept of home to a particular country.


JR Ramakrishnan: From your acknowledgments section, it almost sounds like Lafcadio Hearn himself thought you should write this book. How did it begin for you? 

MT: I was fact-checking my second novel, Bitter in the Mouth, and looking through the pages of The New Encyclopedia of Southern Culture, Volume 7: Foodways. I saw an entry for “Hearn, Lafcadio (1850-1904),” identified as a “journalist, author, and illustrator.” The entry began with Hearn’s birth on the Greek island of Lefkada, then a lonely childhood in Dublin, Ireland, followed by emigration to Cincinnati, Ohio, as a young man, and then migration to New Orleans, where this Greek-Irishman’s contribution to the history of Southern food was described this way:

[Hearn]…opened the short-lived 5-Cent Restaurant and collected recipes of local dishes. Hearn published these recipes in 1885 as La Cuisine Créole, which became the earliest published collection of New Orleans and Louisiana recipes…[, which] continues to serve as an invaluable record of the history of Creole food, New Orleans, and Louisiana.

The entry then offered up this unexpected concluding act: 

Hearn moved to Japan, taught English, changed his name to Koizumi Yakumo, married a Japanese woman who was the daughter of a samurai…and continued his voluminous writing…. Hearn secured a place in history after publishing numerous volumes…particularly Japanese fairy tales.

I was intrigued by the cookbook Hearn had authored—I’m a cookbook collector and avid reader, more reader than user of cookbooks—but none of the disparate parts and geographies of the author’s life made sense to me. When things don’t make sense is when I want to know more. I know more by writing a novel. 

JRR: I used to live in New Orleans and he was quite a presence there. I thought of him as an Orientalist (of New Orleans and Japan). Your book turn the gaze on to the Orientalist through the stories told by the women in his life. What was your impression of him as you got to know him? 

MT: I too thought of Hearn as an Orientalist, a purveyor of the exotic and the Other. Has my sense of him changed after spending eight years with him and the women in his life? Yes. He is a purveyor of the exotic and the Other, and he is a man who gravitated to the margins of society because he felt most at home there. He felt himself to be among the Other because of  his “Oriental” mother, his “olive complexion,” his lack of family ties, his poverty, and his blind eye. The operative word for Hearn is “and,” as it is the operative word for us all. We are not merely one thing. We are each motivated by a complicated, complex set of desires and wants. That is what I came to understand about Hearn as well.

As a former refugee, I resist the idea of pinning home onto a particular country because I know that countries can disappear, nationalities taken away.

As I was researching Hearn, those around him who caught my attention were the women in his life. Taken as a group, their stories span the globe. What I wanted to consider was not only Hearn from multiple points of view, but also how the written word and the lack thereof can determine whose stories and memories are known, documented, and re-documented. Women’s access to education, to the written word, and to publication have been proscribed and suppressed. With rare exceptions, what we know of the past is missing their memories, experiences, and voices. 

Elizabeth, Hearn’s first biographer—and I’m rather convinced the love of his life—and Setsu, his second wife, both wrote books about him, a biography and a memoir respectively. Their works, in my reading of them, had a clear agenda, which was to preserve the prestige and legacy of Hearn as a great man of letters and as a great man. Elizabeth’s biography, in particular read, like a hagiography.

Rosa and Alethea, on the other hand, could not read and write, so they did not leave behind a direct documentation of their lives with and without Hearn. His biographers, however, were able to provide damning characterizations of them both: Rosa as childish and petulant toward Hearn’s father, and Alethea as impatient and willful toward Hearn. Who were the sources for these characterizations? Hearn’s father? Hearn? What were their agendas toward these subjects? 

As for Setsu, biographers often note that she was illiterate in the English language but fail to acknowledge that she could read and write in Japanese, her mother tongue. In this respect, she had the clear linguistic advantage over Hearn, who by the end of his fourteen years in Japan, could not claim fluency in Japanese. He relied on interpreters and translators throughout, and he could write brief, simple, childlike letters to Setsu and only to Setsu. 

JRR: There seem to be many gulfs of understanding between men and women in the novel. You have Hearn’s father and Rosa (and the perfect line: “As it often happened between us, Charles and I agreed not to understand each other”) and then Hearn and Setsu, his Japanese wife. Both couples barely share a language. Hearn and Alethea, his first wife, who’s African American, have English as a common tongue but there is the separation of race in America. Could you talk about language in the novel?

MT: Though I am a writer, I am a skeptic about our ability to use language as a form of effective communication. To me it’s a miracle that any of us can make ourselves understood even to those closest and dearest to us. My previous two novels also explored these gulfs of understanding, as you say, either because of lack of access to the dominant language (Binh in The Book of Salt) or because of a subjective relationship to language (Linda in Bitter in the Mouth). 

In TSF, especially between Hearn and Setsu, language is re-structured out of necessity and desire. Hearn’s biographers write about how he devised a language for the two of them—a mix of simple English and Japanese—that was used only within their household. My mind exploded when I read about this creation of a language for the domestic and matrimonial sphere.

As a writer, I thought about which words were integral to the day-to-day and which were not. I thought about which words would form the first bridge between the two speakers, who had no shared languages. I thought about the inventiveness of this new language, the nuances of it, and the mechanics of it. I also thought of its inevitable failures.

As a wife, I knew that it was false that Hearn alone devised this language. Setsu and Hearn would have created it together. The biographers who credited Hearn alone for the language had dismissed Setsu and her intellect and, most importantly, her will to survive. I did not. 

When I went to Matsue, Japan, and to the museum there devoted to Hearn, I found a biography, A Walk in Kumamoto, by Hasegawa Yoji that illuminated Setsu’s life fully, her years prior to Hearn and those after his passing. In Kyoto, I met Japanese scholars who, like Hasegawa, regard Setsu as Hearn’s literary collaborator for she was the one who told him the Japanese ghost stories and fairytales, which he then re-wrote in English which then launched him toward literary renown.

I agree with these Japanese scholars that Hearn was an excellent listener. He knew what to listen for. He knew not to dismiss the stories of women, children, and the common man. He listened to Setsu as she told and retold him these stories in their language, until he finally heard within these stories the reasons for their persistence and longevity. Then he wrote his version of them. That patience paid off, as these narratives were documented in written form, not left behind or forgotten as Meiji Japan (1868-1912) turned toward the West with breakneck speed. 

JRR: Alethea is basically dismissed in Elizabeth Bisland’s account of Hearn’s life. In the novel, you have Alethea telling her story to a white reporter, who’s is condescending and racist. I appreciated how Alethea pushes back in your text, as in the moment when she refuses to use the phrase “smart as a whip.” You center her in a way that other accounts of Hearn’s life have not. How much information was out there about her life? 

MT: Alethea Foley—a young biracial woman, who was formerly enslaved in Kentucky—met Hearn in Cincinnati, Ohio, where she was working as a cook in the boarding house where he roomed. What I know of Alethea comes from two documents, which I considered “scrimmed,” meaning that the documents profess to be a representation of her voice but are, in fact, mediated by the writer in question.

It has been white men who get to publish, who can claim the status of author and expert, and make their living from writing books.

The first document is a feature that Hearn wrote for the Cincinnati Commercial, after he and Alethea had already married. He didn’t identify her by name but only as a boarding house cook who was a “ghost seer” and a compelling storyteller. He describes the “low, soft” melody of her voice and the “enthralling charm” of her conversation. Hearn then writes that he can’t “attempt to do justice” to her storytelling gifts. He places quotation marks around most of the article, signaling that it is she who is speaking and not the reporter. What follows is a jumble of eerie, atmospheric stories. What is remarkable about this feature is that Hearn did not assign to the cook the exaggerated parlance and pidgin of “Negro” subjects in his other articles. In short, he did not reduce her to a racialized caricature. Given the ghostly subject matter of her stories and her storytelling gifts, it was clear to me why Hearn was attracted to Alethea. It took more time to imagine why she would be attracted to him. 

The second of the scrimmed documents is an interview that Alethea gave to the Cincinnati Enquirer in 1906. The headline of the article read, in part, “Claim…Made by a Negress” and “Ex-slave says she was married to gifted author.” The article didn’t have a byline, and I thought it plausible that the newspaper would have sent a young white woman, ambitious and hungry for scandal in order to make a name for herself as a reporter, to interview Alethea. The majority of the events that I include in the Alethea section of the novel were taken directly from this interview, which was dense with information about their meeting, their marriage, and Hearn’s demeanor and expectations as a young husband. 

The reason for the 1906 interview, given two years after Hearn’s passing, was Alethea’s claim in Probate Court that she was married to Hearn and therefore has a legal right to his estate. The resolve, the will, and the inner strength that Alethea must have possessed in order to say to herself and to the court that she would fight for what was rightfully hers in a court of law. That plus giving the interview, where she was clearly taking her claim into the court of public opinion? I was beyond impressed. I wanted to spend time with this Alethea. I wanted to imagine what and who in her life had shaped her. Alethea is employing her skills as a storyteller to keep the young white woman reporter intrigued enough and in front of her long enough to hear her story, not only Hearn’s role in it. 

JRR: I was so affected by how Rosa and Alethea were both illiterate. Still, they are formidable despite not having the skills that most of us today would take for granted. As someone who’s obviously read an immense amount and written books of your own, how did you inhabit these women who didn’t have the ability to read or write?

MT: I write my novels in the first-person voice because it requires that I enter fully into the language of my narrators. It requires me to let go of my own vocabulary, syntax, and relationship to language, written and otherwise. When I shed my own language and attempt to imagine and inhabit another’s is when I truly begin to understand a character. 

While it’s true that Rosa could not read and write, her relationship to language was not impoverished or diminished. She spoke two languages, Venetian and Romaic. Venetian, in particular, came with it the hallmarks of power, privilege, Empire, and assimilation. I imagine how she must have spoken Venetian better than her Irish husband. How she critiques his pronunciation. How she calls it his “shadow language,” meaning that she could make out only the basic shapes of what he intended to communicate but not the finer details. How she hangs on to both of her languages, when she is living in Dublin with young Hearn. How she regrets that her son is slipping away from her as he is learning English, the language that would divide them. 

As for Alethea, her relationship to language also cannot be characterized as impoverished or diminished. As I’ve noted earlier, according to Hearn himself, she was a gifted storyteller. 

I suppose the answer to your question is that I never assumed that these two women had a lesser or diminished relationship to language or to storytelling because they could not read and write. I never assumed that I was a better storyteller than them because I have access to the written word.

I acknowledge, of course, the excruciating and frustrating limitations placed upon Rosa and Alethea by their illiteracy. To document their stories, they needed an intermediary, a scribe. The storyteller and the scribe, who ultimately has control over the narrative? The desire to control and to maintain the integrity of what is written and what is documented plays itself out in different ways in Rosa and Alethea’s sections and is as much a part of their stories as the stories themselves.

JRR: All three characters are telling their stories to other people to be recorded. Hearn himself was a reporter. In some ways, fiction is a form of reportage and your book is a document. Hearn was known for taking liberties with his reporting, and certainly the way he obtains and tells the stories from Alethea and Setsu might be considered appropriation in 2019. He was a white (or shall we say white-passing man in today’s terms?) man. I would love to hear your thoughts on the issue of to whom stories belong, and who gets to tell them?

 With rare exceptions, what we know of the past is missing the memories, experiences, and voices of women. 

MT: Who do stories belong to? All of us. 

Who gets to tell stories? If by that we mean who gets to publish books? Then the answer in the U.S. is clear. It has been white men who get to publish, who can claim the status of author and expert, and make their living from writing books. 

JRR: In your book, you—Monique Truong, novelist, former refugee, lawyer, Vietnamese American from the U.S. South—tell all of their stories. What would Hearn think of you and this work? 

MT: I think Hearn, as a fellow writer and traveler, would be intrigued by how I had made the reverse journey that he did, that I went from the proverbial East to West. I would share with him my own difficulties with learning Japanese, and how my first languages—Vietnamese and French—haunt my written English. I would give him a copy of TSF, along with a very strong magnifying glass or a more modern pair of reading glasses so that he can make out the text. I know that he misses Rosa, Alethea, Setsu, and Elizabeth dearly. I think that he would recognize them on the pages of my novel and also see them in a new light.

JRR: Hearn’s life was defined by movement. You seemed to have travelled a lot for this book, and I’m sure in general too. I was struck by this line in Rosa’s section, when she’s talking to the family cook Kanella, and notes: “She had never travelled afar. She did not know how easy it could be to leave, how cowards always depart.” Later on, you have Setsu talk about her and Hearn’s moving around Japan and of “weak roots.” Did he find home, do you think? Does anyone? 

MT: I think “home” or rather the feeling of being “at home” can fluctuate from moment to moment, day to day, year to year. It seems to me less dependent on geography and locale and more so on finding a community of friends and beloveds. As a former refugee, I suppose I resist the idea of pinning my concept of home onto a particular country because I know that countries can disappear from maps, nationalities can be taken from you.

Absolutely, I believe Hearn felt “at home” with Setsu and their four children, but as I explore in the novel the Koizumi home or domestic realm was a country apart—the “country inside” I called it—a country that they together created, like the language that they together created. In the novel, I call Japan the “country outside,” and Hearn’s relationship to that country was much more complicated and fraught than he would wish or choose to believe. Right before his death, Hearn was attempting to secure a teaching position in the U.S. so that his eldest son, Kazuo, could study here. He had made no plans whatsoever for Setsu and the other three children. It saddens me to think what would have happened to the “country inside,” if Hearn’s heart had gone on beating. What would have happened to that fragile “home” that he had traveled so far to find?

The Things My Dad Taught Me About Storytelling Won’t Show Up in an MFA

This essay appears in Apple, Tree: Writers on Their Parents, edited by Lise Funderburg.

When I turned 14 years old away at boarding school, I paid for my meal with a credit card for the first time. I’d been authorized to use this new parent-issued credit card, given to me for purchasing train tickets and pre-approved supplies, to have a nice lunch on my birthday with a few of my brand-new school friends. We ate at a place people seemed to like, charmingly in an old firehouse, and when the bill came I paid it—wrote in the tip, totaled the bill, signed, kept my copy and so on. My new friends sort of blinked at me. Later, at the dorm, one asked how long I’d had my own credit card. 

 “A week?” I answered. “It just came.”

“Oh,” she said. Later in the year she confessed that she’d asked because I had handled it all quite smoothly and she was very impressed by me in the moment. The truth was I hadn’t been concerned about what to do. For good or ill—and sometimes for both—I just did it how my father did. Since I was, at the time, understood by the world to be a 14-year-old girl, having mannerisms and habits that were suitable to a 45-year-old businessman caused consternation at frequent intervals. I addressed clerks and shopkeepers with his bumptious charm, I put on my coat and crossed my legs and settled myself in chairs with his movements, the wide-angled grace of the big guy I eventually became; I shook my head reprovingly when I didn’t like what the speaker was saying. I still do all of these things, but having transitioned into a man, it seems less off-puttingly incongruous now. One trait seemed somehow to fit all and none of the categories, though: my father’s skill, which I also grew into, as a storyteller.

Every night at dinner, my father would tell stories from his day. They were mostly small, quotidian workday stories, but sometimes if he was in a good-enough mood, my brother and I could coax him into telling family stories or favorites from his work life or from college. What we noticed was that it improved his mood, too. To fall into the cadences of story, even grumpily at first, is also an experience I have now and it remains an incredibly satisfying one. And at every gathering, whether a holiday dinner or Shabbat collation, at a cookout or a birthday party, on line at the store, waiting for a train, while taking a tour of my future high school when the tour guide was talking and we were supposed to be listening—Dad, come on— there were always stories. 

My dad, who’s a numbers guy, can’t write at all. But that’s on paper. In person, it’s a different ballgame.

My dad, who’s a numbers guy, can’t write at all. My uncle—my father’s brother and only sibling—can: He’s a well-regarded gay writer and poet with a long and distinguished publication record. We move in some of the same circles now, and depending on their generation, people might ask me if I might be related to him or occasionally whether he’s related to me. But my father can’t write at all; his attempts to prepare a speech for some occasion are inevitably an unrelieved block of short, simple, declarative sentences that read like an intermediate English Language Learner writing a final assignment for a communications class. But that’s on paper.

In person, it’s a different ballgame. In exactly the way that children of English professors effortlessly learn perfect grammar and never to misuse lie for lay, I learned perfect comedic timing and the lapidary art of composing a story. To compose a story is quite like composing a photograph—there’s art and craft in what one chooses as the center of the image, what’s kept in and what’s cropped out, the angle, the light. I learned from a million hours of observation of the kind that only a child can lavish on a parent how to string together a scatter of details to make a coherent narrative, how to pace the action from beat to beat, how to read the room to make sure people were following and not move too quickly but neither too slow; how to show the heart of a story—the actual message, the flaw that reveals the perfection—at just the right moment. 

I learned the facial and bodily grammar that adds a layer of depth and nuance to the story as well, modifiers and limiters and intensifiers and even the complex linguistics of contradicting my words with my face to show the listener that I am, briefly, reporting rather than telling. That’s why my father’s attempts at writing seem so rudimentary—because the page only tells a portion of the story. Without the tone, inflection, pacing and other communicative information that come when he tells a story to a group, the words themselves seem like struggling seedlings outside a new house, bare and stunted. For my part, I solve the same problem in the exact opposite way: I use punctuation in all type and manner of off-label ways in order to introduce some of those elements back onto the page, as you can clearly see (unless our stalwart copy editor of this volume has cleared them away and returned me to Standard Correct American Punctuation, the floor around her desk positively littered with commas and em-dashes she’s banished with prejudice). 

My father’s attempts at writing seem so rudimentary because the page only tells a portion of the story.

I pace my sentences on the page as they are in my head and experience no greater compliment than to be told an essay or chapter sounds just like how I talk. Natively, I am a talker, just like my father is. I love storytelling for the opportunity to be in the room with just the people I’m with, to watch how they’re hearing me and give them exactly the right mix of nuance and boldness, just the perfect cocktail of illuminating explanations and flip, you-know-the-rest-of-that hand gesture. Like a high-performance engine that gets tinkered with before each race for the optimal mix of oxygen and gasoline to the track and weather, the storyteller makes thousands of tiny instinctual judgment calls in every rendition. On the page, I can only choose once and then every reader has an off-the-rack experience. But live, in front of an audience—no matter how small—that’s where I am most completely happy in my work.

My experiences of trying to study storytelling, formally, were similar to my experience of trying to study English grammar. My parents, though not professors, are well spoken in Standard American English, so I found it paradoxically difficult to reveal the process pieces behind my mastery. I’d learned it all of a single piece, and not in stages. I could spot the error and correct an ungrammatical sentence easily during my sixth-grade Language Arts classes, but I struggled for years to understand tenses and cases and which the hell was the adverb (I finally got that part down, but I still don’t understand gerunds, not really, not even with Dorothy Parker’s help). 

In the same style, I took workshops and classes in storytelling as I deepened my theater practice (my father found the idea hilarious, as though I’d confessed to taking an eight-week instructional program in Duck Duck Goose) but found them frustrating beyond words. I could never articulate well why I had made a particular choice or what my rationale was for encouraging a classmate to skip a bit or move something to the end, it just felt Correct to me that way. Certain constructions or compositions had an ineffable rightness about them that others didn’t. Some sentences felt finished, satisfied and satisfactory, and others either unfairly truncated or extended beyond their capacities, like single parents trying to manage an unreasonable number of tasks. In my head, or maybe in my blood, there exists a metronome for how a sentence should unfurl itself and it’s so deeply ingrained I’ve never been able to go against it, not even to save an essay or a story from being cut out of a book or a show.

Some of that is repetition. As a parent I have learned that children sometimes have to be specifically taught a thing, like riding a bicycle or addressing an envelope, a process during which you correct them and guide them and encourage them and eventually celebrate the success as a shared project. In other cases, they have to be reminded approximately eleventy million times—like saying “please” and “thank you”—before they eventually internalize it (they do eventually, right?). Those are rituals of parenting, and we do them over and over with full recognition that they’re a part of the job even though it can be exhausting. They’re a part of the job that many of us knew to expect, having seen other parents engage in them. But there’s another entire class of learning in which children just watch and listen to you every day, day upon day, and then one day reproduce exactly what you do. Sometimes this is very exciting, like when they spontaneously pick up a spoon and eat or spontaneously critique a billboard for being sexist and ridiculous, and sometimes might cause a person to swiftly reevaluate the kind of language they use in traffic, but my father and his friends told stories so often and with such craft, with so unimpeachable a sense that this was a foundational skill of life that I simply picked it up and ate. 

Once, an interviewer asked me where I’d studied storytelling. I told her I’d studied with Arnold Friedlander, one of my dad’s friends and the owner of a building supply business.

(Once, an interviewer with whom I was annoyed and frustrated because of the way she constructed her questions about my gender asked me where I’d studied storytelling. I told her I’d studied with Arnold Friedlander, one of my dad’s close friends and owner of a building supplies business; a gifted natural storyteller who would have hooted helplessly with mirth if anyone had suggested that storytelling was a thing a person could go to school for. The interviewer made affirmative, approving noises as if I had identified myself as having attended the Harvard of storytelling and printed this tidbit of my pedigree in her magazine.)

There are more ways that I am like my father; they are so many and myriad and idiosyncratic that when he expresses (about me) the sentiment that gives this volume its title he does not refer to the wholesome apple but says instead the nut doesn’t fall far from the fucking nut tree, and I assure you he means this fondly. I have his wide and friendly cheekbones and large head, his generous mouth, his mesomorphic broad-shouldered body and his wide, flat feet. I have his sense of humor and his sense of duty, more of both than a lot of people, his easy gregariousness and his work ethic and his mile-wide judgmental streak. We are both a lot, in every regard. There are things we don’t share, too, from his disdain for beaches to his suspicion of live theater, but if I could include a video with this essay, here’s what you could see if I showed both of us side by side at the beginning: both of us opening our hands up and outwards, both cocking our heads slightly to the side, both pursing our lips slightly with the lower lip pooched out fractionally more, both nodding in a sort of acquiescence with a brief close of our eyes at the nadir of the nod, both looking at you, both breathing in, both beginning the story. 

In “Dominicana,” a Child Bride Longs for Home

Dominicana takes place in the 1960’s, following 15-year-old Ana Canción as she marries a man twice her age and immigrates to New York City from the Dominican Republic. Though Ana doesn’t love him, and never truly dreamt of the U.S., she knows it’s an opportunity to help her family. 

In this novel, Angie Cruz follows Ana as she grows older and lonelier, as she finds freedom in her husband’s absence. Domicana is a novel about immigration, womanhood, and coming of age. It is a novel about unlearning silence but learning survival. It’s about living in a place that doesn’t love you—but loves your labor—and finding a way to love it anyways.


Arriel Vinson: What jumped out at me first were the themes of womanhood/motherhood vs. manhood in the novel. Ana was a 15 year old being prepped for marriage and taking care of a husband. Why did you want to depict this? 

Dominicana
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Angie Cruz: Before this was a novel I had started writing what I thought was a nonfiction book about my mother’s marriage as a way to answer questions that I was having around womanhood and the way women in my family sacrificed for the sake of the family. I was very inspired by Dorothy Allison’s book, Two or Three Things I Know for Sure both thematically and stylistically, where she looks into her family’s history to explore the impact of one generation to the next. So with that in mind, I interviewed numerous family members about what their life was in the ’60s and ’70s and I was struck by the evasions, silences, the inconsistency in the telling, all in an effort not to admit or say what was obvious in my eyes, that my father was an abusive man. 

At first, I thought my grandmother’s ambition for a better life was prioritized over the well-being of my mother but while writing this novel I am coming around to the fact that my grandmother was probably trying to save my mother from possibly a worst fate. Women are vulnerable to sexual assault, unfair wages, abuse, femicide, all over the world, but specifically, in Dominican Republic, the Trujillo dictatorship instilled, in the fabric of the culture, the notion that women are inferior to men. And this translates into a host of legal, physical, emotional, financial, vulnerabilities for women. But the reality is that women are presumed incompetent constantly in our culture here in the United States too. And Ana’s prepping to be married is not so different from so many women who get married thinking they have to perform the role of wife. Ana’s plight, one full of agency and desire to make something for herself, despite having multiple obstacles, feels to me like so many women’s stories. She already understands the trades one makes in a marriage, what she needs to do to get what she needs or wants. For Ana she wanted to bring her family to New York.

AV: The novel is set in the 60s. How did that influence the themes in the book, and Ana’s story in general? You use historical events to ground the reader in time. Tell me more about this decision. 

All my books deal with informal economies that are born from the need to have a side hustle, especially when many jobs are below a living wage.

AC: This book has had many incarnations. A previous version was set in the 70s. But I became interested in 1965 for this particular book because the window in Ana’s living room faced the Audubon Ballroom. And in that building Malcolm X was assassinated. I was interested in what it might have been like for someone newly arrived not knowing the language or culture to be looking out her window and witnessing this historic event. Ana doesn’t yet know that as a member of the African diaspora—being that Dominican and African American ancestors both took the same trip across the middle passage—that  Malcolm X’s platform, the civil rights act, the struggle for black liberation would eventually make it possible for her and her family to have access to education, employment, housing, etc.

So to write her story in the 60s made it possible for me to juxtapose the upheaval in New York and also the occupation of the Dominican Republic by the United States. To show the marches and acts of resistance out on the streets, but also to correlate this moment of revolution and multiple forms of resistance in the world that were also happening inside Ana’s apartment, inside her body too, was intentional.

AV: There’s some physical abuse in the novel as well (although sometimes it’s not explicitly stated). Why was this important to include for Ana’s story? Would you say this is a reality some immigrant women experience? 

AC: I have found it interesting how difficult it has been for readers to say Ana was raped. Call it marital rape, spousal rape, but I think the book makes it clear that she did not want to have sex with Juan. Aside from the fact that she was a minor, she also did everything to avoid it, and when it happened, he choked her. He slapped her. He didn’t give her the key to the apartment. In fact, one reviewer called it unwanted sex. It’s rape. So to answer your question do I think Ana’s story is a reality for some immigrant women. No, I think it’s the reality of 1 in 5 women who will be raped at some point in their lives in the United States. 1 in 4 women will be sexually abused.

AV: This novel is also about Ana learning survival, not just Ana learning herself. She uses the pigeons who visit her window to imagine she’s at home, finds a way to make money on the side. Why was this an important balance to strike? 

Even in a bad situation, even when we don’t have resources, if we have imagination, there is a feeling of freedom.

AC: I think all my books to some extent deal with informal economies that are born from the need to have a side hustle, especially when many jobs for the struggling class are below a living wage. For many keeping one’s head above water requires inventing ways to make money. Without her pigeon friends, her memories of what may have seemed like a more idyllic life in the country back home and her saving up for her necessities, I think the book would be unbearable to read. She was in a bad situation, but even in a bad situation, even when we don’t have resources, if we have imagination, there is a feeling of freedom.

AV: At the end of a lot of the chapters, Ana imagines different scenarios (whether with Juan, Caesar, or her family back in the D.R.). Can you talk more about her using imagination as an act of resistance? 

AC: I’ve been thinking a lot about imagination and why I write fiction. Every time I dare look at the news I find myself more horrified but not because anything that is happening is that different than what has been happening in like forever but more how no matter what happens I find myself sitting with folks and they will say with certainty that Trump will get reelected again, or how nothing can be done about the climate crisis that awaits, as if a dystopic future is inevitable or all beyond our control. This I find is where we are failing to imagine another reality.

Ana is in a tough reality with very little room to move, to find moments of joy, to dream, to imagine is one way for her to potentially actualize another reality. I’ve been thinking about what it must have been like to be at the height of the Vietnam war and come across the Yoko Ono poster, The War is Over. What if we all agree the war is over, do we stop the fighting and move from destroying things to building things? Who knows?! I think that’s why I write fiction because it allows for things that may feel impossible in “real” life but in fiction anything can happen.

AV: The theme of strength is also strong in this novel. Even after having a baby, Ana is consumed with the idea of strength. Tell me more about this decision, but also what strength has meant for women around you. 

AC: I grew up with women who didn’t even think they had a choice but to be strong. If it comes up in the novel it’s because it’s the expectation women I know have for themselves and each other. But being strong all the time also is exhausting. I try to be strong for everyone even when I need help. But I want to feel and believe that asking for help is also strength. It’s like that moment in the book when Ana gets help nursing the baby, sometimes letting someone help is showing strength.

AV: What are you working on now? 

Often as people of color we are invited to places to perform our identity, or we feel like we must, how do we liberate ourselves from that?

AC: Right this minute I am working on so many things simultaneously but mostly on my next novel tentatively titled The Immigrant Handbook about a recently unemployed middle-aged woman who is trying to find work during the great recession of 2007. At the moment the book is a long monologue of a job interview she is doing, answering the questions candidly. I am also co-editing The Ferrante Project that will be done in two parts for the journal I edit Aster(ix). We have invited sixteen established writers and visual artists to submit works anonymously, providing a space for them and us, to try something we wouldn’t do if we had to put our names on it. Often as people of color we are invited to places to perform our identity, or we feel like we must, how do we liberate ourselves from that? That’s the experiment. The submissions have been interesting for sure.  

AV: Lastly, you mentioned Ana’s freedom, and one thing I loved about the novel was that freedom meant something different for each character. Can you tell me more about that decision?  

AC: I think a lot about what it means to be free and the borders of freedom, imagined or very real. And through fiction I can play out the possibility of it/them. For Ana to fall in love or allow herself to fall in love, was a space of freedom. And for Juan, marriage gave him the permission and a kind of freedom to do with Ana as he wanted. For Cesar, to walk around in Harlem where he didn’t feel feared because he was black, allowed him a taste of freedom. To have a key to an apartment. To make some money. To learn English. To choose who you fuck. To chop off your hair. To feel joy. All acts of resistance, reclaiming power and space, even if momentarily.

8 Books About Chucking It All and Assuming a New Identity

Listen, adult responsibilities are hard. Between work, debt, dating, and all that other Life Stuff, nobody would blame you for fantasizing about walking away and reinventing yourself with a new identity in another state, maybe another country. But vanishing can be harder than you think—and starting over doesn’t always mean your problems don’t follow you. Instead, live vicariously through these fictional characters who—voluntarily or not—left it all behind.

Ladder of Years by Anne Tyler

Ladder of Years by Anne Tyler

Delia, a 40-year-old mother of three, impulsively abandons her family during a beach vacation, with little besides the swimsuit on her back. Reinventing herself in a new small town, Delia gradually figures out who she is without the context of her family.

Les Miserables

Les Miserables by Victor Hugo

This French classic is a legitimately sprawling novel, but the central one of its many threads concerns the ex-convict Jean Valjean, who recreates himself multiple times—including as a mayor, a convent groundskeeper, a devoted but reclusive father, and a reluctant revolutionary—in an attempt to shed his history of (wrongful) imprisonment and escape.

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The Scapegoat by Daphne du Maurier

It might be fun to meet your doppelganger—until he steals your identity and your life, forcing you to pretend to be him in turn. In Du Maurier’s thriller, English academic John is thrust into an intrigue-laden life as a French count.

Lady Oracle by Margaret Atwood

Lady Oracle by Margaret Atwood

In Atwood’s second novel, Joan Foster leads a double-double-double life: as a writer of “trashy” romance and a feminist poet, as an unfulfilled wife having a ridiculous affair, as a former fat girl who doesn’t know how to live in the new body she’s built herself. When the weight of these duplicities threatens to crush her, she fakes her own death to escape.

Man Walks Into a Room

Man Walks Into a Room by Nicole Krauss

Samson Greene doesn’t exactly leave his life—his life leaves him. The Ivy League professor disappears from New York and turns up wandering in the Nevada desert with no memory of how he got there, or even who he is. His fugue turns out to be the result of a brain tumor, but even after surgery Greene only remembers his life up until age 12. This one’s less about creating a new identity, and more about what identity even is.

The Outsider by Richard Wright

In Wright’s confrontational, existential novel, unhappy outsider Cross Damon finds himself fortuitously reported dead, and sets out to create a new personality—in the process rejecting most of the things that people build identities on, including conventional morality (he murders several people over the course of the book).

The Sirens of Titan by Kurt Vonnegut

The Sirens of Titan by Kurt Vonnegut

By the middle of Vonnegut’s beloved but frankly still underrated novel, everyone hates Malachi Constant. He’s so universally reviled that an entire religion has been built around mocking him. So what would happen if you found out you were Malachi Constant, except you didn’t remember anything about your life? That’s only one of the perfect twists in this book, which among many other things is an investigation of what you can—and can’t—leave behind.

Eat the Document

Eat the Document by Dana Spiotta

After a Vietnam War protest gets out of hand, Bobby and Mary have to abandon their radical values, their pasts, and each other. The novel follows their separate paths 20 years forward, into the ’90s, where the two have new names and new lives but still retain scars from what they left behind.

It’s Time Nancy Hale Got Her Due

“The Bubble”
by Nancy Hale

Now when Eric was born in Washington, D.C., I was eighteen, and most people thought I was too young to be having a baby. 

I went down there two months before it was going to come, to stay at my mother-in-law’s house. She was crazy for the baby to be born in Washington, and I was just as glad to get away from New York. My father had been divorced from my mother, and she had gone abroad, and he was getting married to Estrella, so I couldn’t go there, and I had got so I couldn’t stand that first awful little apartment, with the ivory woodwork and a red sateen sofa; I didn’t know how to make it look attractive, and it depressed me. Tom, Eric’s father, stayed on in it after I went to his mother’s; I remember he used to work in a bond house. 

It felt strange, staying with my mother-in-law. She had a big house, right opposite to the old British Embassy. That makes you realize how long ago this was, and yet I am still, all these years later, wondering about why it was the way it was. Mrs. Tompkins’ house was a real house, with five stories and four servants, and meals at regular times and a gong that the colored butler rang to call you to them. I had never lived in a real house. My father always had apartments with day beds in them, so we could open the whole place up for parties, and we ate any time. My father was an art critic on the Tribune. Nobody remembers who he was any more; everybody forgets things so fast. 

Nobody remembers who he was any more; everybody forgets things so fast. 

My room in Washington was in the front, on the top floor, looking out at the rambling, old, mustard-yellow Embassy. Sometimes at night I would lean on the window sill and watch the cars draw up and the people in evening dress get out and walk up the strip of crimson carpet they rolled out across the sidewalk for the Embassy parties. And I would weep, up there on the fourth floor, because I was so big and clumsy, and I felt as if I would never, never go dancing again, or walk along a red carpet, or wear a low-cut dress. The last time I had was one night when I went dancing at the old Montmartre with Tom and Eugene—I was in love with Eugene— and I had seen myself in a long mirror dancing and realized how fat I looked, and that was another reason I wanted to get away from New York and go and have it in Washington. I had two black dresses—one plain wool and the other with an accordion-pleated crêpe skirt—and one velours hat, and I wore them and wore them and wore them all those last weeks, and I swore to myself that when it was born I would burn them in the fireplace in my room there. But I never did. 

I used to live in a kind of fever for the future, when the baby would have come and I would look nice again and go back to New York and see Eugene. I took regular walks along the Washington streets—N Street, and Sixteenth Street, and Connecticut Avenue with all the attractive people going into restaurants to lunch—in my shapeless black dress and my velours hat, dreaming of the day when I would be size 12 and my hair would curl again and I would begin to have fun. All those days before Eric was born were aimed frontward, hard; I was just getting through them for what it would be like afterward. 

All those days before Eric was born were aimed frontward, hard; I was just getting through them for what it would be like afterward. 

My mother-in-law was the one who was really having the baby; she was full of excitement about it, and used to take me to Washington shops to buy baby clothes. Looking back all these years later, I remember those sunny afternoons in late winter, and the little white dresses and embroidered caps and pink sweaters spread out on the counter, and stopping to have tea and cinnamon toast at the Mayflower, with the small orchestra playing hotel music, and they seem beautiful and tranquil, but in those days I was just doing any old thing she suggested, and I was living to get back to New York and begin having fun again. 

I remember she gave a ladies’ luncheon for me, to meet some of the young mothers she thought I would like to know. I suppose they were a couple of years older than I, but they seemed middleaged to me and interested in the stupidest things; I wanted to cry because nobody was anything like me. 

But now I remember that the luncheon was really beautiful. The dining room was big and long, and on the sideboard was Mrs. Tompkins’ silver repoussé tea service. The table was laid with a huge white damask cloth, and the napkins had lace inserts. It was a real ladies’ lunch party, with twelve ladies and a five-course luncheon; I had never been to one before in my life, and I seldom have since. I remember the first course was shrimp cocktails in glasses set in bowls filled with crushed ice. And for dessert there was a special confection, which had been ordered from Demonet’s, the famous Washington caterer; it was a monument of cake and ice cream and whipped cream and cherries and angelica. But all I could think about was how food bored me and how I wanted to get back and begin living again. I felt in such a hurry. 

Later that day, Mrs. Tompkins gave me a lot of her linens. It was before dinner. We used to sit in the small library and listen to Amos ’n’ Andy every night at seven. And this night she brought in a great armful of linens to show me, and everything I admired she would give me. There were damask tablecloths with borders of iris and borders of the Greek key, and round embroidered linen tea cloths, and dozens and dozens of lace and net doilies to go under finger bowls, and towels of the finest huck with great padded monograms embroidered on them. “Dear child,” she said, “I want for you to have everything nice.” I ended up with a whole pile of things. I wonder what ever became of them. I remember imagining what my father would have thought if he could have seen me with a lot of tablecloths and towels in my lap. “The purchase money of the Philistines,” he might have said. But I have no idea what happened to all that linen, and my father is dead long ago and nobody remembers him any more. I remember when I went up to my room to change into my other dress for dinner I wept, because I was so big and ugly and all surrounded with lace doilies and baby clothes and Eugene might fall in love with somebody else before I could get back to New York. 


That was the night the baby started to come. 

It began about ten o’clock, just before bedtime, and when I told my mother-in-law her face lit up. She went and telephoned to the doctor and to the nurse, and then came back and told me the doctor said I was to rest quietly at home until the pains started to come every fifteen minutes, and that the nurse, Miss Hammond, would be right over. I went up to my room and lay down. It didn’t hurt too much. When Miss Hammond arrived, she stood by my bed and smiled at me as if I were wonderful. She was tall and thin with sallow hair, an old-maid type. 

About one o’clock, Mrs. Tompkins telephoned the doctor again, and he said to take me to the hospital. Mrs. Tompkins told me she had wired Tom to take the midnight down, but I didn’t care; I was having pains regularly, and the difference had begun, the thing I have always wondered about. 

We all got in a taxi, Mrs. Tompkins and Miss Hammond and I, there in the middle of the night, and drove through the dark Washington streets to the hospital. It was portentous, that drive, significant; every minute, I mean every present minute, seemed to matter. I had stopped living ahead, the way I had been doing, and was living in right now. That is what I am talking about. 

I hadn’t worn my wedding ring since I fell in love with Eugene. I’d told my mother-in-law that I didn’t like the feeling of a ring, which was true. But in the taxi, in the darkness, she took off her own wedding ring and put it on my finger. “Dear child,” she said, “I just won’t have you going to the hospital with no ring.” I remember I squeezed her hand. 

I was taken at once to my room in the hospital, where they “prepared” me, and then almost immediately to the delivery room, because they thought the baby was coming right away. But then the pains slowed down, and I stayed in the delivery room for a long time, until the sun began to stream through the east window. The doctor, a pleasant old man with a Southern accent, had come, and he sat in the sunshine reading the morning newspaper. As I lay on my back on the high, narrow delivery cot, the pains got steadily harder, but I remember thinking, There’s nothing scary about this. It just feels natural. The pains got harder and harder. 

There was the doctor, and a nurse, and my own Miss Hammond, whom I felt I had known forever; occasionally she would wipe my forehead with a cool, wet cloth. I felt gay and talkative. I said, “I know what this pain feels like. It feels as if I were in a dark tunnel that was too small for me, and I were trying to squeeze through it to get to the end, where I can see a little light.” 

The doctor laughed. “That’s not what you’re doin’,” he said. “That’s what that baby’s doin’.” 

But that was the way it felt, all the same. 

“Let me know when you need a little somethin’,” he said. 

After a while I said, “This is bad.” And instantly he was at my side with a hypodermic needle, which he thrust into my arm, and the pain was blunted for a time. “Let me know when you need a little somethin’,” he said again. But I was feeling very strong and full of power. I was working my way down that long, dark tunnel that was too tight for me, down toward the little light that showed at the far end. Then I had a terrible pain. That’s all I’m going to stand, I thought calmly. Deliberately I opened my mouth and screamed. 

That’s all I’m going to stand, I thought calmly. Deliberately I opened my mouth and screamed. 

At once, they put a mask over my face, and the doctor’s voice said, “Breathe deeply.” 

And I was out. 

I would come back into the brilliant sunshine of the room and the circle of faces around me, and smile up at them, and they would smile back. And then a fresh pain would approach, and I would say, “Now.” 

“Bear down,” the doctor’s voice said as the mask covered my face and I faded away from the room. “Bear down.” 

So I would bear down, and be gone. 

Back into the sunny room and out again, several times, I went. And then, on one of the returns, to my astonishment, I heard a small, high wail that I nevertheless knew all about. Over to one side of me stood a crib on stilts; it had been standing there all along, but now above its edge I could see two tiny blue things waving faintly. 

“It’s a boy,” I heard my darling Miss Hammond’s voice saying. “You’ve got a beautiful boy, Mrs. Tompkins.” 

And then I felt a fearful pain coming. They put the mask over my face for the last time, and I went completely out. 

When I woke up, it was in my own room. Mrs. Tompkins was there, and Miss Hammond, and Tom. They kissed me, and beamed at me, and Tom kept pressing my hand. But I was immune from them all. 

I was inwardly enthroned. Seated on a chair of silver, sword in hand, I was Joan of Arc. I smiled at them all, because I might as well, but I needed nobody, nothing. I was the meaning of achievement, here, now, in the moment, and the afternoon sun shone proudly in from the west. 

A nurse entered bearing a pale-blue bundle and put it in my arms. It was Eric, of course, and I looked down into his minute face with a feeling of old familiarity. Here he was. Here we were. We were everything. 

“Your father’s come,” Mrs. Tompkins said. 

My father’s head appeared round the door, and then he came in, looking wry, as he did when people not his kind were around. He leaned down to kiss me. 

“Brave girl,” he whispered. “You fooled ’em.” 

That was right. I had fooled them, fooled everybody. I had the victory, and it was here and now. 

Then the nurse took the baby away, and Miss Hammond brought a big tray of food and cranked my bed up for me to eat it. I ate an enormous dinner, and then fell asleep and did not wake up for fifteen hours. 

When I woke, it was the middle of the night, and the hospital was silent around me. Then, faintly, from somewhere down the corridor, although the month was February, someone began to sing “Silent Night.” It was eerie, in my closed room, to hear singing in the darkness. I looked at where the window showed pale gray and oblong. Then I realized what the tune was that was being sung, and felt horribly embarrassed. I could hear my father saying, “These good folk with their sentimental religiosity.” Then the sound of the singing disappeared, and I was never sure where it had come from, or, indeed, whether I had really heard it or not. 


Next morning, bright and early, a short, thin man with gray curly hair walked into my hospital room and said, “What’s all this nonsense about your not wanting to nurse your baby? I won’t have it. You must nurse your child.” He was the pediatrician, Dr. Lawford. 

Nobody had ever given me an order before. My father believed in treating me as if I were grown-up. I stared at the strange man seating himself by the window, and burst into tears. 

“I tell you what, my dear little girl,” he said after a few moments. “I’ll make a bargain with you. I believe you have to go back to New York and take up your life in six weeks. Nurse your baby until you have to go, and then you can wean him.” 

I nodded. I didn’t know anything about any of it—only what older women had said to me, about nursing ruining your figure —and all of that seemed in another life now. 

Flowers began to arrive, great baskets of them from all Mrs. Tompkins’ friends, and they filled up my room until it looked like a bower. Telegrams arrived. A wire came, late one day, from Eugene. It read, “aren’t you something.” But Eugene no longer seemed quite real, either. 

I would lie in that hospital bed with the baby within my arm, nursing him. I remember it with Dr. Lawford sitting in the chair by the window and tall, old-maidish Miss Hammond standing beside my bed, both of them watching me with indulgent faces. I felt as though they were my father and my mother, and I their good child. But that was absurd, because if they were taking care of anybody, it was Eric. 

I stayed in the hospital ten days. When we went home to Mrs. Tompkins’, it was spring in Washington, and along every curb were barrows of spring flowers—daffodils and hyacinths and white tulips. 

Miss Hammond and Eric had the room next to mine on the fourth floor. Miss Hammond did what was called in those days eighteen-hour duty, which meant she slept there with the baby and went off for a few hours every afternoon. It was Mrs. Tompkins’ delight, she said, to look after the baby while Miss Hammond was out. Those afternoons, I would take a long nap, and then we would go out and push the baby in his father’s old perambulator along the flower-lined streets, to join the other rosy babies in Dupont Circle, where the little children ran about in their matching coats and hats of wool—pink, lavender, yellow, and pale green. 

It was an orderly, bountiful life. Breakfast was at eight, and Mrs. Tompkins dispensed the coffee from the silver repoussé service before her, and herself broke the eggs into their cups to be handed by the butler to Miss Hammond and me. We had little pancakes with crisp edges, and the cook sent up rich, thick hot chocolate for me to drink, because I had not yet learned to like coffee. In those days, a thing like that did nothing to my figure. When we had gone upstairs, I would stand in front of the mahogany mirror in my bedroom, sidewise, looking at my new, thin shape, flat as a board again, and then I would go in to watch Miss Hammond perform the daily ceremony of the baby’s bath—an elaborate ritual involving a rubber tub, toothpicks with a cotton swab on the end of them, oil, powder, and specially soft towels—and the whole room was filled with the smell of baby. Then it would be time for me to nurse Eric. 

I used to hold him in my arm, lying on my bed, and it was as though he and I were alone inside a transparent bubble, an iridescent film that shut everything else in the world out. We were a whole, curled together within the tough and fragile skin of that round bubble, while outside, unnoticed, time passed, plans proceeded, and the days went by in comfortable procession. Inside the bubble, there was no time. 

We were a whole, curled together within the tough and fragile skin of that round bubble, while outside, unnoticed, time passed, plans proceeded, and the days went by in comfortable procession.

Luncheon was at one-thirty, Amos ’n’ Andy was at seven, dinner was at seven-thirty, bedtime was at ten-thirty, in that house. The servants made excuses to come up to the fourth floor and look at the baby, and lent unnecessary helping hands when the butler lifted the perambulator down the steps to the street for our afternoon walk among the flowers. The young mothers I had met came to see the baby, and Mrs. Tompkins ordered tea with cinnamon toast served to us in the drawing room afterward; they talked of two-o’clock feedings, and the triangular versus square folding of diapers, and of formulas, and asked me to lunch at the Mayflower, early, so that I could get home for the early-afternoon feeding. But the young mothers were still strangers to me—older women. I did not feel anything in common with their busy domestic efficiency. 

The spring days passed, and plans matured relentlessly, and soon it was time for me to go home to New York with the baby, to the new apartment Tom had taken and the new nurse he had engaged that Mrs. Tompkins was going to pay for. That was simply the way it was, and it never occurred to me that I could change the plans. I wonder what would have happened if a Dr. Lawford had marched in and given me an order. . . . But after all, I did have to go back; New York was where I lived; so it’s not that I mean. I really don’t understand what I do mean. I couldn’t have stayed at my mother-in-law’s indefinitely. 

I don’t remember starting to wean Eric. I remember an afternoon when I had missed several feedings, and the physical ache was hard, and Mrs. Tompkins brought the baby in for me to play with. 

I held him in my arms, that other occupant of the fractured bubble, and suddenly I knew that he and I were divided, never to be together again, and I began to cry. 

Mrs. Tompkins came and took the baby away from me, but I could not stop crying, and I have never again cried so hard. It never occurred to me that anything could be done about it, but we were separated, and it was cruel, and I cried for something. I wish I could remember exactly what it was I did cry for. It wasn’t for my baby, because I still had my baby, and he’s grown up now and works in the Bank of New York. 


After that, time changed again for me. It flowed backward, to the memory of the bubble and to the first high moment in the hospital when I was Joan of Arc. We left Washington on a morning with the sun shining and barrows of flowers blooming along the curb as we went out the front door and the servants lined up on the steps to say goodbye. Eric was in a pink coat and a pink cap to match, with lace edging. But he didn’t really belong to me any more—not the old way. I remember Mrs. Tompkins had tears in her eyes when she kissed us goodbye in the Union Station. But I felt dry-eyed and unmoved, while time flowed backward to that night we drove to the hospital in the middle of the night and she put her ring on my finger. 

Of course, when we got back, New York looked marvellous. But even while I was beginning to feel all its possibilities again, time still flowed backward for me. I remember when it was that it stopped flowing backward. I was in someone’s room in the St. Regis, where a lot of people were having a drink before going on to dance. I sat on the bed. A young man I had never seen before sat beside me. He said, “Where have you been all my life?” 

And I said, “I’ve been having a baby.” 

He looked at me with the shine gone out of his eyes, and I realized that there were no possibilities in a remark like mine. I laughed, and reached out my glass to whoever the host was, and said something else that made the young man laugh, too. And then time stopped flowing backward and began once more, and for always, to hurry forward again. 


And what is it that can make it stop, so that you can live in now, in here?

So that is what I wonder about, all these years later. What is it that makes time hurry forward so fast? And what is it that can make it stop, so that you can live in now, in here? Or even go backward? Because it has never stopped or gone backward for me again. 

It isn’t having a baby, because I’ve had four, God help me—two by Tom, counting Eric, and two by Harold, not to mention that miscarriage, and although I hoped it would, time never did anything different again, just hurried on, hurried on. 

It isn’t, as it occurred to me once that it might be, getting free of men in your life as I was free of them long ago with Mrs. Tompkins. Here I am, rid of my husbands, and the younger children off to school now, in this apartment. It isn’t big, but I have day beds in the bedrooms so that every room looks like a sitting room for when I have a party. I’m free, if you want to call it that, and my face isn’t what it was, so that I’m not troubled with that kind of thing, and yet, when you might think life would slow down, be still, time nevertheless hurries on, hurries on. What do I care about dinner with the Deans tonight? But I have to hurry, just the same. And I’m tired. Sometimes I imagine that if Mrs. Tompkins were still alive, or my father, even . . . But they’re dead and nobody remembers them any more, nobody I see.