Why Are Tech Billionaires so Obsessed with the Roman Empire?

I.

At nine, my youngest brother Andrés started drawing abs on himself every day with a sharpie. At first, I was amused. I saw it as an expression of his artistic leanings. Like how he enjoyed drawing cartoons with muscles. A cyborg warrior with a missing arm. A green fighter cat with a skull tattoo on his face. Even a shirtless trimmed-down Santa with gold teeth and a jacked Rudolph the Red-Nosed Reindeer with another skull tattoo, as if the pair left the North Pole and hung out at Miami nightclubs. He told me he wanted to be a bodybuilder. He couldn’t summon a six-pack onto his skinny frame, so he drew it on. 

If his aspirations were limited to physique, I would have worried solely about body dysmorphia. But I was troubled that along with muscles, he admired aggression and dominance. I suspected he was getting his messages about hypermasculinity from YouTube and society, and because I couldn’t block society, I tried parental controls on devices. When I was at my parents’, I deleted YouTube from every TV in the house. He reinstalled it. I put a passcode on the TVs. Somehow, he still found a way to watch videos of grown men playing Minecraft and yelling crude jokes to one another, which I knew could lead to videos that were even less appropriate for his age. 

Then one day, at age ten, and without knowing its name, Andrés drew a picture for our dad—“a place for fighters.” 

It was the Roman Colosseum.


Like symbolic creatine, Rome continues to pump males up. In August of 2023, Instagram user @gaiusflavius kicked off a contemporary #RomanEmpire trend by posting a photo of Roman ruins with the caption:

Ladies, many of you do not realise how often men think about the Roman Empire. Ask your husband/boyfriend/father/brother—you will be surprised by their answers! 

Hundreds of posts consequently rolled out on various media platforms as women took up this prompt and shared their findings. Apparently, lots of men think about the Romans on a monthly, weekly, even daily basis. When questioned why they think about the Romans, men’s responses included: marveling at Roman engineering feats like the aqueducts and architecture, admiring Roman history and philosophy for the “big life lessons,” and imagining themselves in Roman society. 

Another frequent line of response, not surprisingly, pointed to men thinking about the Romans’ glorification of male strength. In one video by @Hannakbrown, her fiancé says, Men, I think, to our core we’re warriors. We have to be ready for battle at all times. And the Roman Empire is all about battle. It’s common sense.” 

I call these male superfans of the Roman Empire RomeBros, and while the social media trend was entertaining, there are real-life consequences to an obsession with Rome when it’s adopted by people with the power to impact governance. I’m terrified of the highly resourced RomeBros who not only admire the Romans but task themselves with continuing their legacy. Billionaire Charles Koch named his conservative think tank the Cato Institute, after the reactionary Roman philosopher. In the tech sector, billionaires with a conquering mindset have been likewise instrumental in weakening democracy, so it’s not surprising that Mark Zuckerberg and Elon Musk are also RomeBros. 

Zuckerberg has long been obsessed with the Romans, especially Augustus. In a 2018 New Yorker article, Zuckerberg comments on his admiration of the emperor, justifying his ruthlessness as means to an end: “I think Augustus is one of the most fascinating [figures]. Basically, through a really harsh approach, he established two hundred years of world peace…What are the trade-offs in that?…that didn’t come for free, and he had to do certain things.” That Zuckerberg thinks one person can establish “world peace” reveals the degree to which he idealizes and misreads Augustus, also evident in how he’s trying to live in the model of the emperor’s life. The haircut Zuckerberg used to sport was modeled after Augustus’s. He also had a seven-foot statue of his wife built in the Roman tradition and even named his three children after Roman emperors: Maxima, August, and Aurelia. In 2024, a video boasting the release of a Meta AI version featured him in a white T-shirt, with Latin on the front, referencing a quote from a text written by Augustus: At the age of nineteen, on my own responsibility and at my own expense I raised an army, with which I successfully championed the liberty of the republic when it was oppressed by the tyranny of a faction. The line is the first sentence of Res Gestae Divi Augusti (The Deeds of the Divine Augustus), in which Augustus recounts his exploits but omits that he staged a civil war with help from his peers, Mark Antony and Lepidus. After Julius Caesar was assassinated, the three established the Second Triumvirate (rule of three men) and punished those who had plotted against Caesar. But Augustus couldn’t share power. He pushed out Lepidus and killed Mark Antony. Claiming his adopted father Julius Caesar was a god and he the son of a god, he was the first Roman to officially adopt divinity in his title. With his assumption of the title of Emperor, he also ended the era of the Republic, which had been built on the premise that there would never be single rulers. His ascension to the throne was the beginning of centuries of autocracy to follow. Zuckerberg’s attraction to him finds precedent in Augustus himself, who was inspired by and wanted to be like Alexander the Great, even wearing his image on a signet ring until deciding to wear one with an image of himself instead. Perhaps in a similar move, Zuckerberg has another Latin- T-shirt, which plays on the phrase, “either a Caesar or nothing,” and instead declares, “either Zuck or nothing.” 

I’m terrified of the highly resourced RomeBros who not only admire the Romans but task themselves with continuing their legacy.

Elon Musk is on his own mission of conquest, with Mars in his sights and political power at hand. He spent over $250 million to help Donald Trump win the election and championed him on X in order to prevent future attempts at federal regulation on his ventures and to assert political might himself. Whether he sees himself as a sci-fi hero destined to change the future or as a Roman fighter continuing the greatness of an ancient past, he always wants to be in battle. In 2023, Musk challenged Zuckerberg to a physical fight at an “epic location” in Italy after the Colosseum itself was ruled out, even going so far as to contact then-Italian Minister of Culture, Gennaro Sangiuliano, to coordinate. Though Zuckerberg accepted the challenge, the fight never panned out. 

Yet, since buying Twitter in 2022 and turning it into X, Musk has turned the site into a battleground of its own. He’s encouraged sexist, transphobic, racist, and xenophobic rhetoric through his own posts and through the logic of the algorithms, leading millions of users to flee the site because of its toxicity. On November 20, 2024, Musk reposted a set of images comparing Roman symbols to those of the US with his own caption: “America is New Rome.” A most liked comment under his post added: “Our colosseum is X.” 


II. 

The men in the #RomanEmpire trend who imagined themselves in Roman society were likely envisioning themselves among emperors, senators, and gladiators. But most of us would have had no place in Roman society except among the hundreds of millions exploited, plundered, and raped. At the empire’s peak, four out of five Europeans were under Roman rule. The empire existed because it created a war machine. It sustained itself by continuously taking over land and managing the conquered. Drooling over it is a hard sell for me. Why would anyone look to an ancient, patriarchal, slave-holding, and martial regime unless they feel affinity for social dominance?

Roman Empire glorification was once heavily taught in schools but now gets reinforced in more diffused ways. In the US, Greco-Roman culture serves as a symbolic understructure because of its role in Western culture. It influenced thinkers and artists in the Enlightenment, among them the Founding Fathers, who were inspired by Roman governing philosophy (i.e. separation of powers, an emphasis on liberty) and symbolism (i.e. the American bald eagle, the architecture of the US Capital Building). Since the 1960s, Latin has not been widely taught in US schools, and recent generations are less likely to read Roman texts in full, yet Roman culture continues to circulate in movies and shows, in which Romans are almost always played by white actors in spite of the fact that the Empire was heterogeneous, covering parts of Europe, Asia, and Africa. A product of dominant value systems, media about Rome is continuous propaganda that glorifies white men. Even in the most recent Gladiator II film, Denzel Washington and Pedro Pascal’s characters exist only to create obstacles for the white gladiatorial protagonist, played by Paul Mescal so that audiences sympathize with him and root for his triumph.

It’s not hard, then, for white men to retrofit the Romans to suit ethnonationalist agendas. Classicist scholar Donna Zuckerberg points out thatalthough whiteness is not a meaningful concept to apply to antiquity, that conceptual lacuna has not stopped the Alt-Right from using ancient Greece and Rome to fabricate a cohesive transhistorical ‘white’ identity and a continuity of ‘European’ or ‘Western’ civilization for themselves.” (Donna, a critic of how social media amplifies expressions of toxic masculinity, is also Mark’s sister, so I wonder what holiday dinners are like.)

Rhetoric proclaiming to preserve long-established hierarchies can slip easily into fascism. The word fascism itself comes from Roman symbolism: fasces were a bundling of rods with an axe carried by attendants of a Roman magistrate during processions to attest to and enforce his full might and power. The Italian dictator Benito Mussolini adopted the fasces as his party’s symbol, but the symbol appears as part of US mythography too: it’s in the seal of the US Senate and can be seen on the wall as bronze fasces in the chambers of the House of Representatives.

As a “politics of hierarchy,” fascism’s utmost value is strength, and fascists nostalgically invoke a mythic patriarchal past for authoritarian ends, argues philosopher Jason Stanley (who is leaving the US for a faculty job in Canada because of the US’s own rising fascism): “In fascist politics, myths of a patriarchal past, threatened by encroaching liberal ideals and all they entail, function to create a sense of panic at the loss of hierarchical status, both for men and for the dominant group’s ability to protect its purity and status from foreign encroachment.” In the US, this kind of status panic seeks soothing and aid from various value systems; patriarchy finds reinforcement through sexism, as well as homophobia, transphobia, racial ideology, classism, and xenophobia. Socialization into one of these value systems can be a gateway into all of them.   

When he drew the muscly Santa and Rudolph, Andrés told me that if he worked for Santa, he’d want to be Head Elf. I found it funny but odd, because I never thought of Santa’s workshop as having managerial positions, but I now realize that at age nine, Andrés was already thinking in terms of stratification, which I understand because in most homes, media, and society at large, there are hierarchies. But he wasn’t seeing himself at the top—more as a kind of enforcer of a social order, expressing a mentality upon which fascism depends. 


III. 

I told my dad about the #RomanEmpire trend while it was unfolding, expecting him to find it disturbing too, but he didn’t respond. I’m used to my dad’s reticence, but this quietness felt especially weighty, so I pushed. Dad, do you think about the Roman Empire? After a long pause: Yes. After more prodding: At least once a month. And finally: Because of Catholicism. 

It’s not hard for white men to retrofit the Romans to suit ethnonationalist agendas.

I had not considered the role the Empire played in the spread of Christianity. There’s the saying that Rome didn’t really fall—it just became a church. In his overview on the Roman Empire, Edward Gibbon says organized religion became an effective way to manage a heterogeneous population: “the throne of the emperors would be established on a fixed and permanent basis, if all their subjects, embracing the Christian doctrine, should learn to suffer and to obey.” 

Despite my attempts to find out more of my dad’s thoughts on this topic, he wouldn’t say. So, I’m left surmising the effects of Catholicism on him and my Mexican family. As a working-class, brown-skinned man with indigenous features, my father has been made to feel wrong his entire life. I see how religion has helped him bear a life of pain. Prayer also offers him an outlet to feel grateful when things go well. But I wonder: To what extent has my dad’s fear-based life been activated by and managed by Catholicism? By Masculinity? Mexican culture? US Culture? The afterlives of empires are not separable.


In 2015, I had coffee with a senior scholar of American Studies on USC’s campus, where I work. I was studying the news tracing people’s reactions to the 2010 Census and the role that fear of demographic change might play in the 2016 election. 

I asked my colleague: “Has any country ever experienced the kind of demographic shift projected to occur in the US by the 2040s?” 

With a combination of mirth but also seriousness, he said: 

“Rome.”


IV. 

For the RomeBros of the tech world, what will the ends of conquest be? Their tech-imperialism constantly seeks new markets to conquer, and they benefit from politicians who allow them to thwart efforts at regulation. The 2016 election has been called the “Facebook election” for the ways in which the Trump campaign benefited from Facebook staffers and the ability of the platform’s tools to shape public opinion. The most recent US election likewise reveals the extent to which TechBros can influence politics. In a Guardian article, Carole Cadwalladr argues that the first wave of algorithmic disruption led to Trump’s first term as well as Brexit, but that we are now in a new order where the old rules don’t apply:

Because this, now, isn’t politics in any sense we understand it. The young men who came out for Trump were voting for protein powder and deadlifting as much as they were for a 78-year-old convicted felon. They were voting for bitcoin and weighted squats. For YouTube shorts and Twitch streams. For podcast bros and crypto bros and tech bros and the bro of bros: Elon Musk.

Seeing the radicalization of young men to the far-right, I fear that my little brother Andrés might be socialized into bro-y culture, into that power continuum that is against so many people like our family, a family that is full of people who are undocumented, poor, dark-skinned, queer, and feminist. 

It’s playing out right before me in real time. The argument that “demographics are destiny,” and the assumption that the US would become more progressive as it becomes more diverse has been challenged by this past election. In a New York Times op-ed, sociologist Tressie McMillan Cottom argues that it’s crucial to pay attention to online spaces, writing “Trump did not win over these minority and young voters because he figured out how to appeal to their identity. He excelled at tapping into the information ecosystems—social media, memes and the cultish language of overlapping digital communities—where minority and young voters express their identity.” Oppressive messaging can come from anywhere, but digital culture can be packaged in ways that accelerate acculturation into toxic ideas. While women, people of color, and LGBTQ+ communities are working endlessly to change the status quo, there’s a growing army of men and tradwives leveraging the tools of social media, weaponizing online communities, and invoking a white-washed, hypermasculine past to prevent a more equitable future.

What’s more, whether Musk and Zuckerberg continue to play visible or more clandestine roles in politics, neither is giving up a conqueror’s mindset. Their control over companies exerting power in and over nations makes them a continued threat to democracies across the world. They’ve also set precedent for others in tech to amass even greater resources. We might be in an interim period where tech leaders still compromise with or outright buy politicians, but at some point, they may no longer be beholden to elected officials. The word limit comes from the Latin word limes, the border areas of the Roman Empire. We are in a world with too many wannabe Caesars thriving on domination and ruthlessly intent on breaking down all limits. 


V. 

Beware of those who speak of the spiral of history; they are preparing a boomerang. Keep a steel helmet handy, wrote Ralph Ellison. I have a big soft head, and I’m worried I won’t be able to find a spacious enough helmet.

It’s possible, though, to recognize and break from the forms of socialization we inherited. When I was a child, my dad would have me and my younger brother Miguel draw tightly contained spirals over and over on rule-lined paper to improve our penmanship so we could do well in school. At eight, Miguel had a hard time staying in between the lines. No amount of crying would soften my dad. He wouldn’t let Miguel leave the table until every line on the page was filled. Hours passed with my brother despairing at that table. He reminds me that I would finish the page for him when our dad wasn’t looking. My father was taught to write through spirals, and that’s the way he taught us, but my brother Miguel and I would never teach that way.

Never hugged as a child, my father found it difficult to hug us, especially my brother. When my dad would come home from his factory job, Miguel would run eagerly into the kitchen to greet him, only for my dad to bark, Is your room clean? Did you do your homework? 

The coil in my dad’s chest seems to constrict my brother now too, but he can easily hug his children and tell them he loves them. He has no trouble expressing delight at their doings. 

In the summer of 2022, my dad and I were standing behind a park fence, waiting for and watching Miguel as he played with his kids. “I’m sorry I was a bad dad,” my father told me, observing how differently Miguel parents. He wishes he had played with us. Knew us better. He’s trying with Andrés, decades younger than me and Miguel.

When Andrés spirals into anger, our father hugs him and says words he never could to us.

It’s OK, just breathe.   


VI.

Among the reasons given for the fall of the Roman Empire are internal factors such as corruption and decadence, and external ones, mainly that the Romans were overcome by barbarians, the term Romans used for any non-Romans. Barbarians were the other, those they defined themselves against, who they fought, and whose lands they took over. As the empire grew and amassed land inhabited by those others, they also came to rely on them; they had them fight in their military and incorporated them into their citizenry. But the more expansive the empire got, the harder it was to manage and to protect territories from foreign invaders. 

Whether Musk and Zuckerberg continue to play visible or more clandestine roles in politics, neither is giving up a conqueror’s mindset.

The US as Rome analogy is frequently invoked, either to attest to an inherited mandate for dominance, as Musk’s X post exemplifies, or as a warning of an empire in decline. A reigning question right now is what the US will do with all the “barbarians” in and outside of its borders. The US implements tons of defensive tactics to keep barbarians out: immigration quotas, border walls, surveillance, deportations. Yet, it relies on racialized others to keep the economy and armed forces running. 

In his book, Are We Rome? journalist Cullen Murphey writes, “The Roman Empire disappeared, of course, as a formal construct, but in other respects it did not entirely vanish,” pointing to how Roman religion, language, culture, customs, architecture, and law are still influential in Europe and the US today. Murphey’s comparison of Rome to the US also recognizes how both entities assimilated newcomers, creating multi-ethnic states. Assimilation is often thought of as a one-way process, rather than how it actually occurs, with arrivals assimilating aspects of a host culture and the host culture assimilating aspects of new arrivals. Culture is never static, even if some might desire for it to be so. 

When I hear concerns that western culture is being attacked, that people aren’t assimilating, my eyebrows raise in alarm. Assimilation into which values? Into which stories? 

Having now consumed a bunch of narratives about Rome, I understand how they can appeal to desires for a shared text, shared references, shared culture. Once you’re familiar with the grand narratives of the Republic and Empire, reading a book, listening to a podcast, or watching a film on Rome can be like entering an anthology of stories where familiar characters or tropes appear, but from different angles. 

The current book bans around the country are attempts to keep the cadre of shared texts small, to maintain existing hierarchies and to police boundaries around race, gender, and sexuality, at the expense of a well-informed public. Growing up, I had to seek out texts not on traditional curriculums or offered by the mainstream so that I wouldn’t hate myself or others like me, people who come from the margins, since schools and media can so often work to educate people into wanting power even by proxy. Those who want a greater diversity of texts are like “the barbarians at the gate,” as Viet Thanh Nguyen once put it, invoking the famous phrase warning of invasion and reframing it as a demand for change. 


VII.

Lately, I’ve wondered if, in reading so much about the Roman Empire and RomeBros, I’ve inevitably become a RomeHo. I’ve actually enjoyed reading about the Romans, learning about figures like the emperor Elagabalus, who confounded and angered his critics because he cross-dressed, was called empress, and favored his male lovers, one of whom was called his “husband.” Before this essay’s foray into the ancients, I knew little about the Egyptian queen Cleopatra beyond her death by asp and her portrayal by Elizabeth Taylor. Now I’m intrigued by her political maneuverings which deemed her a sorceress temptress, having beguiled first Julius Caesar and then Mark Antony into her kingdom and bed. I also now know there’s a Hollywood version of Rome—the flashy swords and calls for liberty—and the reality that Rome was a deeply hierarchical society; no matter who was in power, it was run to serve the interests of oligarchies. Yet, there were critics of the empire from within, as exemplified by Roman historian Tacitus’s assertion, “They create desolation and call it peace” referring to Rome’s presence in Britain. 

I’ll keep thinking about empires past and present, as well as how defensive masculinity radiates outwards, injuring people within and beyond physical proximity. Boosted by warrior iconography, masculinity gets marshalled to reinforce national boundaries, socioeconomic structures, and battle-mindsets in the next generations.  

The battle right now is whether we will have a shared future and who will be included in that “we.” The Bros have intuited that demographic shifts will bring their empire–a historically misogynistic, white, and never truly democratic empire–to collapse. They appear willing to fight to decide who stays in power.

So steeped in the rhetoric of Rome, my barbarian impulse wants to declare, Rome will fall! But what history shows us is that Rome continues, albeit in a different form. As the crisis plays out and people fight to create or contest new social formations, I wonder: on what side will Andrés, my father, all those men in the videos, and so many other people stand? 

Andrés’ last name, which is also mine, is Román, which literally means “from Rome.” 

But we are all children of empires. 

These Two Books Spotlight Guerrilla Soldiers in Malaya’s Forgotten War

In Jeremy Tiang’s debut novel, State of Emergency, which won the Singapore Literature Prize, a young couple meet and marry in 1950s Singapore, only to choose dramatically different political paths as the country and neighboring Malaya seek independence from their British colonizers. The wife joins the Communists’ anticolonial struggle as a guerrilla soldier in the rainforest; the husband is left behind to raise their young children. Decades later, their niece is unjustly imprisoned, accused of conspiring against the Singapore government, and their estranged son tries to piece together his fragmented family history and learn about the mother he never knew. As the novel follows these characters and others over five decades, it illuminates their often wrenching decisions to hew to their political ideals, despite the emotional and sometimes physical costs involved.

Jeremy has also translated Delicious Hunger, a collection of short stories originally written in Chinese by Hai Fan (the pen name of Singaporean writer Ang Tiam Huat), who was one such Communist soldier for thirteen years in the same rainforest. In these stories, a group of impassioned freedom fighters struggle not only against the better equipped British and later Malaysian armies, but also against hunger, romantic “bourgeois” love, and the quotidian frictions of guerrilla life that complicate their vision of a liberatory future. Delicious Hunger zooms in on these characters’ lives as they’re deployed from one secret camp to another, one mission to another, committed to an unglamorous political struggle and its stark, physically demanding rigors.

I’ve known Jeremy for well over a decade, since before either book project materialized. We spoke on Zoom about what drew him to write and translate fiction about these political movements, why women are such significant characters in both works, and how these stories might inform our understanding of the current political moment.

Yu-Mei Balasingamchow: You started writing State of Emergency more than ten years ago. How did the novel come about?

Jeremy Tiang: It started as a novel about the Macdonald House bombing [in 1965], and that’s still the very first thing that happens in the novel. But as I started looking into the histories of Singapore and Malaysia, it felt a bit like pulling on threads to see what would unravel. Ultimately, the strand that I kept following was about the Communist insurrection and the related leftist movements, mostly around Singapore, and the guerrillas in the rainforests of Malaya. The novel coalesced around this layer of history, which I couldn’t really engage with without also talking about Singapore and Malaysia’s history of detention without trial—how there’s a kind of continuity with British colonial rule and the actions of the post-independence governments, and a kind of continuity in the repression that was enacted during the Malayan Emergency and subsequently through the first decades of independence. These related things became the backbone of the story. 

YB: How much of it is fiction, and how much is drawn from research? 

JT: That’s difficult to answer because it’s all imagined. There aren’t any real people in it. Historical figures are mentioned, but none of them put in an appearance. However, if an election happened on a certain date or if the British enacted a particular policy, then that’s all factual. The characters are composites of historical figures that I researched or groups of historical individuals that I aggregated. A little bit of someone’s detention story, a little bit of someone else’s, and then imagination to join the gaps between them. I would say it feels true to me. It’s all fiction, but it’s also consistent with historical events so it could have happened this way. 

YB: State of Emergency is also about one specific family who is touched by certain political choices made throughout the years. How did you arrive at this as your way into the story? 

The family becomes a weaponized site for oppression.

JT: One of the first aspects of research I undertook was talking to my parents and other family members, so I think family became a starting point for me. We tend to know a bit more about who the people involved in the struggle were in their public lives, be they government officials or leftist activists or guerrillas in the rainforest. We know less about who they were privately. The tension between the public and the private is always very rich to explore, so it made sense for the novel to be about a single family. There are different time periods and narrators with different leanings, but the fact that they’re connected by blood or marriage makes the novel feel more like a single, coherent journey rather than a disparate collection of individuals. 

YB: It’s concentrated. The choices made by an individual that seem personal have huge political repercussions across the decades on the family. 

JT: That’s a favorite threat of authoritarian governments, isn’t it? How could you do this? Think about your family. The family becomes a weaponized site for oppression. None of these people exist in a vacuum, even if they would like to think of themselves that way. 

YB: When the character Stella is being interrogated by the government, the interrogators bring up her immediate family, who is not politically active, and then her aunt, Siew Li, a soldier in the rainforest whom she never knew. 

JT: Yes, your family connections can be inherently suspicious. When I was growing up in Singapore, I remember people who were on blacklists, and their family members would find it difficult to find jobs. It still happens today, just in different forms. 

YB: Can you talk about your decision to write from six points of view? In particular, you focus on women who are politically active. How did these characters come to you? And did anything from your interviews with family members make its way into the novel?

JT: No one is remotely based on my family, who are very apolitical. Talking to them was more about texture: What did you have for breakfast? How did you get to school? What was it like to take a taxi? It built up the world. 

There had to be many points of view because I was trying to cover so much ground. Han Suyin’s novel, And The Rain My Drink, was very influential on me. She lived through this historical period, and her novel weaves together many points of view of people living side by side yet having very different political views of the world. She and I have very different vibes, but she writes in a way that I had never seen before, the astonishing way she’s able to see the entire tapestry and every level of the conflict at the same time.

In my novel, I wanted to have both the English-educated and Chinese-educated perspectives. I wanted us to be in different places: Singapore, Malaysia and London. It was freeing to jump like that. It was more about what I thought the big flashpoints were rather than starting with the people. For example, I knew I had to write about the massacre at Batang Kali [where British soldiers killed unarmed civilians in 1948], and it was more about who was there and whose perspective would I inhabit. For other parts of the novel: who got detained by the Internal Security Department in Singapore, who was in the rainforest fighting? Identifying the storylines I wanted to investigate, then the individuals in each strand to use for their point of view. Then finding ways that these lines would intersect so there would be continuity.

I should say a lot of this is me rationalizing it after the fact. None of this was going through my mind at the time of writing. It was very much about what felt right or necessary at each moment. 

YB: Conventional accounts of this historical period are very male-dominated. In your novel, the three female narrators are the ones who really feel pressure from the state, from the patriarchy or the dominant narrative. Like Revathi—people don’t want her to talk about the Batang Kali massacre, but she’s determined to keep digging on her own.

JT: I don’t think the women in all these political movements have been given as much prominence as the men, but there were a lot of them. Early in my research, I read Agnes Khoo’s oral history of the female comrades, Life As the River Flows: Women in the Malayan Anti-Colonial Struggle. There were also many female politicians on both sides of the government. There were many female student activists. Among the 1987 detainees in Singapore were many women. Conventionally these would be male-dominated narratives, but that was not borne out by my research. I ended up fifty-fifty, three male and three female narrators. I didn’t stop and think, oh, I need more women here. I did the research, and that’s how the story unfolded.

YB: Who did you write this novel for? 

JT: I wrote it for myself, in the sense that these were the things I wanted to unravel and think through. I knew about these individual pockets of history but not how they all joined together. I had to write the novel to find those connections, to make sense of it all and to spend a sustained period of time in that world. Even if it had never gotten published and never found readers, it would still have been worthwhile because it was a process I wanted to go through. 

I don’t think the women in all these political movements have been given as much prominence as the men, but there were a lot of them.

I almost never start out wanting to tell a particular story. I’m kind of figuring out what it is as I go. If I started out already knowing the story, if I know where I’m going to go, I don’t need to write ninety thousand words to get there. I want to get somewhere new that I didn’t know was at the end of the path. I don’t even necessarily know what the path is. 

YB: Do you remember what you did not know about that path as you were writing? 

JT: I went back and read some early drafts, and I had no memory of them. I think when I found the thing that worked, it became the story, and I mentally discarded any other version. In previous drafts, there were false starts and things that didn’t work or that were going in the wrong direction. But I don’t think I could at those points have said, oh, this is what I don’t know. It really is just stumbling through a field full of fog, and you have no idea what you’re groaning towards until you are. 

YB: It’s very interesting to hear you say that, because the final version that we read seems intentional.

JT: A lot of art is the thing that you didn’t know that you were heading towards until you found it. Then it feels so right and natural that it must always have been this way. The reader hopefully never knows. It seems effortless, it seems to just have always existed in the shape of that. You know when you’ve found the right one, so you have to forget all the other things.

YB: Okay, let’s turn to Delicious Hunger. How did you come across Hai Fan’s writing? 

JT: Delicious Hunger was different to any literature I’d seen before about the Malayan Communist Party. Hai Fan wrote it long after everything else that dealt with the topic. It’s not like the Jin Zimang or He Jin stuff from fifty years ago. The idea that in 2017, there was a new work of literature about that history out—obviously, I’m going to be fascinated. 

Hai Fan wrote when he was in the rainforest, and he’s still producing new work, writing one book every couple of years. To be translating him as he’s writing—like, why wouldn’t I? 

YB: What were the literary qualities in the Chinese that attracted you? 

JT: There’s a directness and lack of pretension that I really enjoy. It’s also very human. None of the characters are mouthpieces for ideology. At the same time, none of them are there to be reflexively cynical or critical of their circumstances. It’s a very honest depiction of how life was in the rainforest for everyone who sincerely believes in what they’re doing and what they’re fighting for. But it’s also very clear-eyed about the difficulties surrounding them. They get into petty disagreements with their comrades and are unhappy about the conditions of their lives and have feelings that are unruly. All the while, they’re surrounded by this gorgeously realized rainforest that never feels overwritten. 

Related to your point about women in political movements, there are a lot of women in Delicious Hunger. I don’t think that’s a contrivance by Hai Fan. There were a lot of female comrades.

YB: Delicious Hunger feels like it takes place in an enclosed world, a microcosm with its own rules and expectations. 

JT: That’s all good fiction, the world has its own internal logic. It’s also Hai Fan’s view of that part of his life. 

YB: I was wondering how much of the grueling difficulties he experienced. 

JT: There wasn’t a lot of individualism in the rainforest. Comrades were almost never alone, you were always with other people. It was a very communal life. I don’t know if he would say, this character is me. I think he would say these people are us

YB: Can you talk broadly about how you translate, not just Chinese into English, but also in approaching a historical context like this?

A lot of art is the thing that you didn’t know that you were heading towards until you found it.

JT: Whether you’re writing or translating, if you’re embodying any kind of minoritized perspective or challenging the official narrative in any way, it’s really easy to slip into using the official lexicon. Like people in Singapore use the term, “Hock Lee Bus riots.” It’s the phrase we’re used to, without stopping to think how calling it a riot is already making a value judgment or positioning it in a certain way. I like to interrogate these uses of words. Am I bolstering certain ideas or narratives by using a particular vocabulary, and is there a simple adjustment I can make that would pull away from that? Because there’s such a dominant narrative in Singapore, a singular point of view that’s been enshrined at so many levels of society that it’s really easy to fall into that way of thinking, that use of language and not even realize you’re doing it. 

In my essay in the Margins about translating Delicious Hunger, I talked about using the word rainforest instead of jungle. I agreed with the analysis that jungle has resonances that aren’t helpful. I also realized that Hai Fan has consistently used yŭlín (雨林), which literally means rainforest. Then I thought, should I go back and change all the instances of jungle in State of Emergency? I didn’t because I think the book is the book, and if I start pulling on threads, it would all unravel and I’d have to write it again from scratch. 

YB: How much did you explain political context while still keeping the story true to Hai Fan’s voice? 

JT: I didn’t do much scaffolding at all. The comrades were very wrapped up in their day-to-day lives and what they were doing at the moment. Anything that needed to be explained, Hai Fan explained, because it’s not like present-day Chinese-language readers are necessarily aware of that history. 

YB: I wonder whether that’s why the stories reverberate so deeply. Even if you don’t know anything about Malaya or that period, everything the characters are going through is very real.

JT: They’re living difficult lives, and the conflicts are very, very clear. There’s no ennui. No one has the time to be depressed or vaguely dissatisfied or feel empty. They have very concrete goals. How are we going to carry this wild boar back to camp? How am I going to find food to survive? How are we going to escape those snipers? Definitely we get to know what’s going on inside them, their inner lives, but I think it does push against a certain genre of contemporary literature, about the upper middle class person whose life appears to be going great, but they feel empty inside. Those books often become very interior. The characters are going to Whole Foods, but inside they’re struggling. 

YB: You were involved in the cover design for both books. Can you tell us about them?

JT: The Singaporean artist, Sim Chi Yin, has some amazing photographs related to the Malayan Emergency and the rainforest. I love all of Chi Yin’s photography, and I suggested her work to Tilted Axis for Delicious Hunger. I’m very happy with the prosthetic limb on the cover. A lot of prosthetic limbs are mentioned in the book because there were landmines in this war. Without that cover, when you read prosthetic limb, you might envision something more contemporary and professionally produced, not this essentially handmade prosthetic limb that they rigged out of whatever materials they could get their hands on in the rainforest. 

For the cover of State of Emergency, World Editions wanted to use a mural that I photographed when I was at the Friendship Village [in Thailand, where former Communist soldiers now live]. It’s very representative of the comrades, for sure. 

YB: How do you think State of Emergency and Delicious Hunger speak to our present political moment? 

JT: Both of them are set in periods of history that are very different to the world we’re in now. Both are about people who believe very much in something and fight very hard to make that thing happen. There’s a tendency to think that the struggle failed because they didn’t turn Malaya Communist, but I don’t think the comrades see it that way. They created a society in the rainforest that wasn’t in thrall to capitalism and that allowed them to live communally on their own terms, and they did that for decades. I think they created the society they wanted to see in the world, and they got to live out their principles, which most of us don’t get to do. 

Perhaps that’s a useful corrective to today’s focus on outcomes. We often think about where we want to end up and focus very hard on that, rather than on seeing your life as a kind of intentional practice and living your life according to the principles you want to espouse.

The Boy Who Remembered His Own Death

“A Faith Again” by Christy Crutchfield

For a week, the boy had nightmares. His parents woke to him bursting, crying so hard, his hair was soaked through. He was so young, the father thought, that his sweat didn’t smell.

When the mother asked what the nightmares were about, their son said, “I died. I remember how I died.” He stared at the painting of pears on the wall. The mother poured too much milk in his cereal.

At first, they thought nothing of the word remember, just a boy searching for the proper way to express a new and terrible feeling. But instead of eating his cereal, he held the spoon in his mouth like a teething toy, and the mother asked how.

“My plane got shot.”

“Your plane?”

“I went in the water.”

The mother pushed for more, and the father pushed away from the table. He’d be late for work if he listened to any more of this. It was simple: dreams amounted to diet. The mother should decrease his cheese intake before bed. He was sure there was science to support this. He drank his coffee too fast, and the inside of his mouth pulsed the entire drive to work. 


But a dairy free month did nothing, and the mother eventually took the boy to see their pediatrician, who recommended a specialist in Atlanta. Now they sat in a psychologist’s office where the tables and chairs were child-sized. Winnie the Pooh and his friends paraded across the wall. The father had no idea what this was going to cost, this on top of the gas crisis.

The child psychologist said, “I’m going to show you some pictures, and you tell me the name of what you see, okay?” He did not have the kind, stooping manner of their pediatrician. He had the coiffed gray hair and sideburns of a successful man who’d never had children. His suit was tailored, the belled trousers pressed with sharp creases. His wrinkles sloped downward.

The cards were mostly simple things any three-year-old would know. Dog, train, tree, cup. The boy didn’t know bison. He didn’t know blender. But he knew wrench. He knew propeller. He knew aircraft carrier, which made the mother suck her teeth.

The child psychologist put his cards away. “And what kind of plane was it?”

“A Warhawk,” the boy said.

“And where was it?”

“The Pacific.”

“The Pacific Ocean?”

“Yeah.”

“Yes, sir,” the father said, and his wife squeezed his arm. They were supposed to quietly observe from the adult-sized chairs in the corner.

“Yes, sir,” the boy said. “The Saratoga.”

The child psychologist looked over the boy’s shoulder at the mother.

“We didn’t know that,” the father said, also looking at the mother, searching her blinking for signs she’d kept something from him while he was at work. “We didn’t know that.”

The child psychologist wrote something in his notebook and asked the boy, “Who’s America’s greatest enemy?”

“The Japs.”

The child psychologist looked not at the boy’s parents, but at the mirror, and the father wondered who was watching them from the other side.

Afterward, boy raced wooden blocks along a wire track, while his parents sat at the child psychologist’s mahogany desk. “Could anyone have told your son this story?” he asked. Could this be a memory the boy claimed as his own?

The mother said their family didn’t talk about the War. Besides, they’d been stationed in Europe or had stayed home.

“And do you or members of your family believe in reincarnation?”

The father wondered why his wife didn’t answer with an immediate no, but she was probably just as surprised by the question.

“You’re not implying—”

“I only ask because these types of cases are more prevalent in communities that do. In India, for example.”

“Do you think that’s what this is?” the mother asked. “A past life?”

“We don’t,” the father said. “We’re Christian.” For some reason, he didn’t say Catholic.

The child psychologist sent them home with paperwork to enroll their son in a study. There were other children like their boy. When the mother asked if he could help ease the nightmares, he referred them back to their pediatrician, and the father wondered what kind of doctor offered no remedies.


That night, the mother pushed the comforter to the end of the bed and slid under their lightest sheet. She wanted to pursue the study.

“We could get some answers,” she said. But the father didn’t think these were answers they wanted, their son crazy at age three. And if not crazy, then what?

“Well, at least consider it,” she said, turning off the bedside lamp. She used to wear a lotion that smelled like flowers, but lately she’d been using one that smelled like medicine. He couldn’t get it out of his nose. 

The father didn’t sleep well that night, his own father in his head. The boy’s grandfather, a man who’d immigrated from Ireland as a child, often spoke about his second-class citizenship in the South. “We were basically Jews,” he’d say.

But the grandfather was young enough to lose his accent. Their last name was not recognizably Irish. He only had to hide his family and his faith. Still, he insisted his children go to Mass every week. He prayed over their meals and kept a Bible hidden in the drawer of his bedside table. None of this made sense to the father then, though now he supposed this assimilation was what earned them the house in the suburbs, the Plymouth, and the pension. 

After he retired, the grandfather went to Mass every day to atone for denying Christ in public. He’d made it into one club. The next was heaven. He must have known he was sick. 

At that point, the father was in college, taking philosophy and physics classes, sleeping in on Sundays. He’d started to think of religion as man’s answer to death’s question. He felt like a child outgrowing Santa Claus. He pitied his simple parents who now hung a framed print of a guardian angel above their couch, her arms outstretched to protect two little children as they crossed a rickety bridge. 

But even though logic said God couldn’t exist, the father could feel Him in his dorm room, in lecture halls, in his head listening to his doubts. And during the grandfather’s last rites, the father felt His presence thick as humidity. He watched the priest place the Eucharist on the grandfather’s dry tongue, wondering how the body of Christ could possibly dissolve. He was afraid the grandfather would choke, that Christ would be his death and salvation. But he also saw a peace smoothing the grandfather’s face, a certainty in the new life that awaited him. What awaited men who believed in nothing?

This death brought the father back to the Church, where he met his wife, who had an unshakable faith he found naive and comforting. He attended Bible study and became a Eucharistic minister. He volunteered to help with the Church’s bookkeeping. He held his wife’s hand on Sundays as she sang along to the processional unembarrassed. It was a relief to have a faith again.

In bed, the father propped his head on his forearm and tried not to think about his doubting Thomas phase in college. He listened to his wife’s wet breaths. How could she fall right to sleep? He wanted to ask her the question that had been on his mind since the child psychologist said reincarnation. Was this some kind of test? Could a study like this bulldoze everything the father had rebuilt? Because while he’d been faithful for years, he still doubted. Because he wasn’t sure he could call what he had faith. These days, he prayed that he could time it like his own father had, hold out long enough for his last rites. One last chance for Confession. One last chance to feel the presence. To get it right.


When the second letter arrived, the mother brought it to the dinner table. “We have to tell him something.”

“I said I would call.” The father noticed there wasn’t so much as a personal note from the child psychologist, this man who was not a therapist like they thought, but a researcher. If the father had known that from the beginning, he never would have made the appointment. He would have asked their pediatrician for some sleeping pills, and they could have gone on with their lives.

And anyway, the boy recovered easily from his dreams. He cried them out and went back to singing little songs to himself. And though the mother said he’d been arranging his planes in pyramids and Vs, though he told her about some friend named Jack who said, “Pilot’s wings are just the beginning,” though he’d added details about fumes filling his eyes before the water extinguished everything, he didn’t crash his toy planes in waking life.

When the father came home from work, the boy was watching television, cross-legged on the floor with his mouth open. And he was now sitting at the table while his mother cut up his roast and they prepared for him to push the meat around. The negotiations. At least three bites. She’d indulged him as usual, allowing a cowboy to stand guard over his plate, as long as he promised he wouldn’t play with it until he finished his dinner.

More proof there was nothing to study. This was just a boy with an overactive imagination. This game of make believe would dissipate, just like Gherkin had. One day, his new imaginary friend had to have a seat at the table, and the next, the boy was begging for little tin planes.

“But this feels different,” the mother said. He knew the names of each toy plane, names she’d never heard before like Corsair and F-23, names the father also had to admit he didn’t know. But the boy was highly verbal for his age. The mother would take him to the grocery store to discover he knew Ajax, Nescafe, rutabaga.

“You brag about it all the time,” the father said, pushing the letter aside and spooning mashed potatoes onto his plate. 

“But this is different.”

“Different how?”

She said sometimes the boy told stories as if he were the pilot. He’d never confused himself with Gherkin. He seemed, even when lost in his stories, to understand that there were two worlds you lived in at his age, and only one was yours. But this pilot’s world was blending.

“I can’t explain it,” she said.

The boy smiled at his plate like he saw something new there. The father mixed butter into his potatoes.

“Eat up, honey,” she said, and the boy pulled the napkin from his lap and tucked it into his collar. If it were up to the father, he’d make his son eat it cold for breakfast, like he’d been made to do.

The boy rubbed his hands together and grabbed his fork. “It sure feels nice to have a home cooked meal,” he said and ate his entire side of meat.


The father came home to a car in the driveway, to a man with gray sideburns and pressed gray slacks on their couch, one of their good cups and saucers in front of him on the coffee table. Their boy was playing on the floor, luckily with his horse figurines. The toy planes were on the table, and the father wondered who had placed them there.

Their son’s case had promise because there was an identifiable incident, names to trace, death certificates to track.

He shook the child psychologist’s hand, while his wife avoided his eyes. The child psychologist was headed to some institute in Virginia. He said their son’s case had promise because there was an identifiable incident, names to trace, death certificates to track. He said they were lucky. Most children didn’t have enough identifying details to pursue their case.

“Lucky,” the father said.

The mother smoothed her skirt and left the room.

“Yes, well.” The child psychologist gestured toward the boy and sat back down on the couch. The mother returned with another cup and the coffee pot. She poured the father a cup then hovered over the child psychologist’s, stopping because it was almost full. He took a polite sip.

The mother settled into a chair and opened her leather-bound journal, pen poised like a secretary. They all watched the boy prance his horse across the carpet in a very un-cowboy way. 

“Do you want to play with your planes?” the mother asked.

The boy shook his head.

“You like those ponies, don’t you?” the child psychologist said.

The boy turned away from him.

Their son was some sideshow freak. They were all waiting for him to perform. He wouldn’t play with his planes. He wouldn’t talk about Jack. Their son turned shy, the way he sometimes did around men. He kept his back to the child psychologist and whispered a neigh to his horse.

The father took a sip and tried to identify what the child psychologist found so distasteful in their coffee. It’s not like it was instant. But he also hoped his wife felt some shame about it because she certainly felt shameless inviting him into their home behind her husband’s back. Did she think she wouldn’t get caught? Or was she hoping to get caught? Because she and the child psychologist nodded at each other as the boy began to draw, like there was some conspiracy between them.

“I’m going to draw too, okay?” the child psychologist said, picking up a brown crayon. His suit jacket pulled taut as he leaned over the coffee table. “What should I draw? A dog? A car? A plane?”

The boy traced blue over and over until it pilled on the page.

“A car then.”

The boy’s eyes moved to the man’s paper. He sketched long lines and curves. The bumpers, the wheels. And after a while, the boy picked up a red crayon and continued.

The father’s stomach growled. What kind of trick would their son have to perform before they could eat dinner? He was sure his wife hadn’t even begun preparations. The boy was making a mockery of his parents, acting like a B movie lunatic one minute and a dumb kid the next. The child psychologist would think they made it all up to get their names in the paper. 

And what if they had? What if the conspiracy was between mother and child, cooking up this story not out of fantasy but vanity? Their faces on the covers of biographies, bestsellers he couldn’t hide from the Church. He shook the thought away, reminding himself the boy was only three.

“So, what exactly do you expect of us?” he asked the child psychologist. “To go all the way to Virginia? For our son to be brain scanned and hypnotized?”

“Hardly.” The father could imagine the child psychologist at parties, condescension over canapes. “Before you arrived, I was telling your wife that you simply need to document your son’s account of the pilot.” Not to push. Not to fish for revelations. Simply document. The Institute would do the rest. The mother scribbled in her journal so fast the father couldn’t imagine her neat cursive was legible. 

“And don’t worry. We don’t believe in hypnosis.” He said the word like he didn’t like the taste of it. “We’re a legitimate organization. Not one of those LSD quack jobs.”

When the boy finished, his mother and the child psychologist swore he had drawn his death. In the center, a Warhawk was circled in red. A spray of black bullets like gnats came from another plane, complete with crosses on the wings and tail. Red fire, they said, blue ocean.

The father didn’t think it was so clear. A red circle with a green X in the middle, like he’d tried to scratch out a mistake. A child’s abstraction, like when he drew pictures of the family, circles with sprouting legs and arms, indistinguishable from the sun above them. They were seeing what they were seeking. Like people who claimed to see the Loch Ness Monster or Bigfoot. He could forgive his wife this impulse, or at least try. He expected better from the child psychologist, who said he’d be taking these “findings” to Virginia. He said they might have enough information to “identify the life.”

When he left, the mother gathered the half full cup, the untouched sugar and creamer.

“He just showed up,” she said before the father could say anything. “What was I supposed to do?”

“Well, you seemed awfully enthusiastic to host him.” And now, he’d have to eat a cold sandwich for dinner like a bachelor.

“I don’t like that man,” their son said, now flying a toy plane. The father wondered if three-year-olds were capable of spite. Maybe the boy would end up with some sense after all.

The mother pushed the kitchen door open with her hip, the china jangling on the tray. “Well, he never heard back from us.” The door swung open and closed several times in her wake, and the smell of casserole wafted into the living room.


At Mass, Father Mandracina sermonized that heaven and hell were the same place. After you died, there was only you and God for all eternity. And if you truly loved God, what ecstasy that would be. If you didn’t, well.

 The father thought, what about my parents? And if heaven and hell were the same place, what did that mean about purgatory? Their pastor was making up rules—he knew this was nowhere in the Bible.

His wife just nodded along. She lived easily in contradiction, God-works-in-mysterious-ways as a coverall. In her mind, God and some many-armed deity could exist side by side, spitting back souls and planting them in little children’s bodies. His wife was less interested in the rules and more in the feeling. She chose the patron saint of alcoholics as her Confirmation name because Monica sounded pretty. She said she knew for certain that God existed when a hummingbird hovered in front of her face on a camping trip. It made eye contact, and she felt like it knew her name. She didn’t think this hummingbird was God but a sign, a messenger. The father had never received a sign. There was only that presence, that feeling of being watched from a corner of the ceiling. He tried not to think about how he would feel alone with this presence. It would be different, he told himself, when it was actually God and not his imagination.

Lately, it wasn’t the boy but his wife who was testing him. The house was quiet. She wasn’t ironing or sweeping with her old Beach Boys records playing. She was studying, chin in hand at the kitchen table as their boy ate breakfast. Just like when he was a baby, and she’d stare at him for hours proclaiming he was a perfect replica of a human, his tiny toes the dollhouse version.

Just yesterday, when he came downstairs, he found her holding a book open like a grade school teacher, pointing to the pictures. But instead of a story of little lost puppy, she was pointing to fighter jets. “Like this?” she said. “Or this?” And the boy twisted his mouth side to side. The plastic cover crinkled along the open spine. 

The house was suddenly filled with history books. His wife was now an expert in the library loan system and the two-front war. She’d been in Junior College when they met, hoping to be a librarian or history teacher. But the draft was looming, and they married early in the relationship. It turned out the father had flat feet, but by then he was working, making enough for both of them. And she’d dreamed of being a mother longer than she’d dreamed of librarianship. 

At the kitchen table, the boy finally pointed to one of the photos, and his mother wrote it down in her journal. 

But things were getting better. The boy’s dreams had ebbed. The father couldn’t recall the last time he’d woken screaming. His vocabulary was changing too, both growing and shrinking depending on the subject. He didn’t know Iwo Jima, but he did know ponderosa. He was more interested in his fourth birthday party than in mastering the defensive split. The mother had purchased the invitations, bordered by a lasso with a sheriff’s star on top, but they were still sitting unaddressed on the coffee table.

They decided they would broach the delicate topic of God after the party. Then he would understand why he went to the nursery and ate small donuts while his parents went to Mass. The boy would be four in a month, and before they knew it, he would be seven and then eight. Still, his First Communion seemed unimaginable. And the father worried the dreams would mushroom into a fatal skepticism later in life, worse than his own. Would he run away to a commune? Would long-haired hippies come banging down their door looking for proof of reincarnation? The father was afraid it was already too late to set the boy on the right path.

He tried to return to the liturgy, the congregation singing “They Will Know We Are Christians,” as the offertory basket made its way down the aisles. He reminded himself that the hippie movement was waning, just like the boy’s dreams.

But even before the pilot, the boy felt like a test. There was a nettling dreaminess about him that said he would grow up to be difficult, lazy and weak. It wasn’t so much the boy now, as much as the threat of what he would become. When the boy started school, he would need more discipline. If he was ever going to make it in this world, the father would have to help him develop a callous to protect and hide the soft body that, hopefully, God could forgive. He put an extra $5 in the offertory basket, wondering if this pilot was what he’d been sensing all along.

His wife sang without looking at the hymnal, glossing over the words she didn’t know with open vowels. She gave his hand a squeeze, which told him he needed to release his shoulders. She was a good wife, a good mother. He told himself to remember this tonight when her easy breathing kept him awake.


Even though it was winter and Tuesday, the mother filled their glasses with Chablis. She said it paired with the chicken and dumplings, his own mother’s recipe. The boy tried to make his cowboy ride his disproportionate pony, the cowboy’s stiff legs touching the table. The mother lit candles.

“Well?” the father said.

 “I found it.”

“Found what?”

“The Saratoga.”

She was so excited, she couldn’t hide her teeth.

“It was a real World War II aircraft carrier. And Maggie at the library said it might be hard to find personnel rosters, but they could be in the National Archives. And there’s an entire book about The Saratoga and all its battles. It should be in on Monday.”

The father chewed slowly. The last time his wife made this meal, she’d told him she was pregnant.

“Isn’t that incredible?” she said.

“If you think so.”

“Don’t you think so?”

“Honey, I don’t know what you think this will accomplish.”

The child psychologist wouldn’t disclose whether he believed in reincarnation. It seemed a strange impulse for a man of science. Shouldn’t scientists believe in nothing? That was more logical than some cycle of lives. Just gases and chance. Just you and then the worms and what the father imagined as a never-ending darkness. Though, even darkness was a kind of existence.

His stomach burned, making it hard to drink the wine, to drink the morning coffee he needed more of lately. How long would this test last? He was getting tired of trying. 

“Well, I do,” his wife said cutting her chicken smaller and smaller. “I think it’s incredible.”

Then the clang. The boy had dropped his horse into the roux, a beige splatter on his shirt. “I’m sorry, I’m sorry, I’m sorry,” he said covering his eyes. 

The father was already standing. He took the figurines off the table and put them on the high shelf next to his wife’s cookbooks.

“At least wipe them off,” she said before his eyes quieted her.

“This is dinner time,” he said. “Not play time.”

“Why are you always mad at me?” the boy said.

“Listen and I won’t be.”

The father placed his napkin back in his lap and prepared to send the boy to bed without dinner. But the boy blinked at him, cocking his head like a puppy learning the world. He squinted before saying, “You know, you remind me of him.”

When the boy spoke as the pilot, he lowered his voice. Still a child’s voice, but older. An actor embodying a role.

“Who?” the mother said.

“My old man.” He sat with his legs wider apart, a bravado in the way he leaned back against the arm of the chair. An adult in a booster seat, challenging the other man in the room. “Hope you’re not as wicked with the belt.”

Both parents let it sit with them at the table. They did not use the belt. They agreed the hand made a point, no need to leave a mark. Though, as a child, the father had learned quickly from the belt.

His wife said, “Do I remind you of your mother?” Their son looked her up and down with a smile that said, “not at all.” 

But then, his blinking sped. He softened, his face and body his own. He jumped off his booster and hugged his mother so hard, her chair tipped back. 

He didn’t burst like he did after the nightmares. It was like he was trying to speak but kept running out of breath, a wet growl then gasp. He inhaled his cries and choked on them. His mother stroked his hair, her cheek on his forehead. “Shh,” she said, and he only cried harder.

The father was reminded of that head-spinning girl in The Exorcist, the film they dared to release that dark Christmas during the energy crisis when good citizens across America left their string lights in the attic. A year ago, he would have dismissed exorcisms as superstition.

His wife took the boy by his shoulders. “You’re here now,” she said. “You’re here.”

What was that supposed to mean? But it worked. The boy eased, his little chest rising, his breath catching in hiccups. 

“See?” She smiled, a string of saliva connecting her lips. Both she and the boy were shaking. “You’re here.”

The father said nothing. He followed them upstairs as she readied the boy for bed. He didn’t often see the boy undressed, and when he did, he was always surprised by his fragile body, visible ribs, little blue veins snaking up the arms. Even after his wife went downstairs, he watched the boy sleep, like a gazelle he’d seen on a nature program, run ragged escaping a lion. He wished they’d had a girl. His wife would know how to raise a girl properly.

He wished they’d had a girl. His wife would know how to raise a girl properly.

He found her in a living room chair, a glass of wine in one hand and her forehead in the other. Her eyes were closed, and he could hear the breath whistle in her nose.

 “We’re done with this,” he said, and she opened her eyes. “You’re making this happen.”

“Me?”

“Your shrink even said it. Don’t push. All you’ve been doing is pushing.”

“But we’re getting close.”

“We?”

She shook her head. 

He pointed to the ceiling, their son asleep above them. “Is this what you want?” 

She’d complained she was getting older, and this was the first time he saw it in the lines around her set mouth. He walked with hard footsteps he wanted her to hear, china shaking in the cabinet, as he went upstairs. She’d finished the wine by the time he came back down with the cookie tin full of toy planes. 

He made her repeat after him. She’d call the Institute and say they would not participate in the study. She’d ask the child psychologist to leave their son alone and if he didn’t, they would sue. She said this all with her thumbs hidden in her palms. She used to be a nail biter but kicked the habit for their wedding. He handed her the tin and watched as she emptied it in the kitchen trash.


The dreams stopped completely. The boy knew plane, but not aircraft carrier, not The Pacific. His parents didn’t ask if he knew crash. And after he’d blown out his candles in his cowboy hat, the memory of the pilot was extinguished too. And after the party, his parents sat him down and explained God.  Though his wife was better at this kind of thing, it was important that the father take the lead. He felt the presence in the back of his head as he told the boy that God created the heavens and the earth, that God created him and loved him and only wanted him to be faithful. And if he was, good things would come in the end. The boy paid more attention to the hem of his shorts, but this was a seed. The father would tend it, monitor its slow growth. 

On Palm Sunday, already too hot, they stood together in the church parking lot waiting for Father Mandracina to precess through the crowd. To keep the boy behaved, the mother taught him how to fold his palm frond into a cross. The priest passed by, dipping the aspergillum into the holy water and launching it at the parishioners, but the boy did not look up. He picked at the fibrous threads, which pulled away like loose strings on a sweater. The mother knew the father wanted to grab the boy’s wrist, to tell him that the fronds were not playthings. They were blessed and sacred. But he didn’t. He was trying. He watched the boy pull string after string, leaving them in a pile at his feet.


Something in the soil that summer turned the hydrangeas pink. But the white stayed at the edges of the flowers, so it looked like a mistake, petals withering instead of blushing. The father searched the closet for his yard clothes, planning to bury pennies to change the flowers back. 

In the far back of the closet, he noticed a moving box that hadn’t been there before, a scarf and two pairs of shoes stacked on top as if to hide it. He removed the clutter and opened the cardboard flaps, but he already knew. It was full of mimeographs and yellow legal pads, his wife’s usually neat handwriting slanted and smeared. She’d starred and circled paragraphs. There were three exclamation points next to the name William O’Connor. She’d found a photo, which was copied to a hazy poor quality. Still, the father could see the corn-fed smile, the big cheeks, the hat cocked just right.

And on letterhead from the Institute, a message from the child psychologist, dated only a month prior. He reported that the details didn’t add up. The Saratoga, yes. William O’Connor, potentially. His body was never recovered. A John, nicknamed Jack, was also on the roster. But no one was flying Corsairs then. But, while they were flying Warhawks, O’Connor was not declared missing at Iwo Jima. So, they could not say this was a match. 

In another letter, he wrote that, no, he didn’t believe she or her son were lying. Children were suggestible and imaginative sometimes. Still, he assured her the findings were logged at the Institute and, yes, he would honor her request to remain anonymous. Further study would not be pursued, but this was where many cases ended. She should be grateful they were able to get this far.

A violence crawled up the father’s body. This betrayal felt worse than adultery. He wanted to take her by the shoulders and shake her. He balled the letter in his fist, stabbing a corner into his palm.

“What’s wrong?” His wife was standing behind him. He’d forgotten he called her. “You’re burning up.”

She placed a cool hand on his forehead, and he leaned into it. He didn’t know what he felt. This oblivious, soothing comfort. This hailstorm inside him. Who did he marry?

“Honey,” she said. He pushed into her palm, but he’d taken the coolness from it. He loved her and he wanted to hurt her and he was scared. So he just pointed. She opened her mouth to speak and closed it.

“Throw it away,” he said.

He thrust the box into her arms. He knew it was heavy for her. The letter was still balled in his fist, and he brought it outside and threw it into the burn pile.


That night, he turned the pillow over to find the cool spot. O’Connor wouldn’t leave him, his corn-fed smile clearer in the father’s mind. He was so young. Was he digested by fish or entombed in charred metal? How long did it take for salt to wear away bone?

He should have been relieved by the child psychologist’s cold response. Proof this was nothing, his wife trying to force a miracle. There were no other lives. Or visitations from ghosts. Just a boy who couldn’t parse fantasy from reality.

But logic couldn’t satisfy the father tonight. He’d been there. He’d witnessed the boy transform. And now that he’d seen the picture of O’Connor, he knew he’d seen him before, somewhere behind the boy’s eyes. They were finally on a stable path—didn’t his wife see what she had done?  

His wife, who was not asleep like he thought, rolled over and put her head on his chest.

“What does it all mean?” he said.

“I don’t know.” But think of how special their son was, she said. He’d drawn them to a man forgotten by history. The father pushed. What did that mean about other lives? About the afterlife? About their son?

The mother didn’t say what she actually thought, that their son was a guide. Father Mandracina often used the word mystery in his homilies, which brought a roller coaster feeling to her chest. Their son was offering them a glimpse at something beyond them, and the best thing to do was pay attention. But she knew this would only frighten her husband. And she wanted to ask for husband’s sympathy, her months of research ignored because the men at the Institute could only see her as a meddling mother. Instead, she yawned and said, “Maybe he just needed remembering,” and they both tried to sleep.

Their son will never know that he could have been a poster child for reincarnation, featured on paranormal TV alongside other small children who remembered the Holocaust and slavery and someone else’s trauma. His mother agreed, a thumbnail in her mouth, never to tell him.


In the decades to come, the boy will rarely have nightmares. In fact, his father will be concerned that he sleeps too much, and most of their fights in his teenage years will be about his laziness. As an adult, the boy will waste his weekends lying in bed, drinking coffee in his pajamas well into the afternoon. He will not spend Sundays at church unless he’s home for the holidays.

The boy will not remember his first Palm Sunday or the day his parents explained God, but he will remember how often his mother told him that his father was trying, that the world was heavier for his father. Whenever the boy disobeys, it won’t be the punishment that sticks, but the way his father looks into him, like he’s searching for some devil there. In high school, when he and his scouting friends are caught passing around a jug of Communion wine behind the rectory, the boy will say, “It’s not like it was consecrated,” and watch the fear take over his father’s body, his shoulders reaching toward his ears as he holds his breath.  And the boy will feel this devil too, which drove him to sabotage his scouting career, the only pursuit that had made his father proud.

When the adult son hears a story on morning radio about the revival of reincarnation cases by quantum physicists, he will not connect it to himself. The physicist will describe these cases not as proof of the soul but as proof that consciousness continues after death. The son will barely listen, still in his pajamas, flipping a pancake for his husband, who asks, “Do you think the kids forget because they start to develop their own memories?”

He will sip his coffee and shrug.

The boy and his husband will live in a Northeastern town by the river, far enough from his parents and their disappointment. And when heavy rains flood the river and a man in a canoe ferries them away from their window, the son will not think about his watery death in another life. He will think about climate change and try not to blame the whole thing on people like his father.

And the son will not understand what he finds in his parents’ attic, cleaning out the house after his mother’s death and years after his father’s: a cardboard box full of legal pads and photocopies, messy handwriting he doesn’t recognize, all about some missing pilot, maybe a distant relative. The son will feel guilty throwing it away, along with the leather-bound journal he finds in his mother’s underwear drawer, which he won’t read, too afraid it contains something she wouldn’t want him to know.

15 Novels in Translation You Should be Reading This Summer and Fall

The second half of the year always feels like a return: to darker evenings, introspection, and stories that ask bigger questions. It’s also when quieter, stranger novels tend to rise to the surface—books that don’t shout, but quietly haunt. Stories that ask us to reflect. Spanning decades and continents, from postwar Austria to contemporary Haiti and Turkish-occupied Kurdistan, from a haunted research institute in Korea to a Venus statue in Tokyo, each book on this list offers a powerful reframing of what fiction can teach us about the realities that we inhabit.

Sweden

Engagement by Gun-Britt Sundström, translated from Swedish by Kathy Saranpa

Published in Sweden in the 70s and translated into English for the first time this year, Engagement by Gun-Britt Sundström follows Martina, a disenchanted humanities student in her early twenties, living on student aid and frequenting whatever seminar catches her attention. When she meets Gustav, it’s far from a passionate romance; he’s not exactly her type, and she’s not really interested in settling down. Despite this, she finds herself falling into established routines with him, performing the expected rituals of coupledom. Cut from the same cloth but wanting entirely different things out of their relationship, the two endlessly discuss what coupledom actually means, who loves whom more, and what the right way to love really is. In a time of social change and upheaval, Martina endlessly asks herself questions that feel as relevant today as ever.

Austria

Killing Stella by Marlen Haushofer, translated from German by Shaun Whiteside

Told from the perspective of an unnamed narrator, Killing Stella—first published in 1958—by Marlen Haushofer (author of newly rediscovered The Wall) is a tense domestic horror novella exploring gender roles, repression, and complicity. Set in post-war Austria, we follow a housewife left to her own devices as her unfaithful husband and two children visit her parents-in-laws for the weekend. With time to herself, the narrator reflects back on past events and, in particular, what happened to Stella—the teenage daughter of a family friend who lived with them briefly before meeting a horrific end. Deceptively quiet and tranquil, Killing Stella is written in the form of a confession, gradually building in tension while ruminating on moral responsibility, silence as a form of both protection and violence, and what happens when things are left unsaid.

Japan

When the Museum Is Closed by Emi Yagi, translated from Japanese by Yuki Tejima

In a surreal take on love, loneliness, and beauty, Emi Yagi, author of Diary of a Void, returns with her second book translated into English. When the Museum is Closed follows Rika Horauchi, a part-time worker splitting her weeks between a frozen-food warehouse and a museum, where her job is to make conversation with the statue of Venus after closing hours. Recommended by her old professor for her proficiency in Latin, Rika begins to visit the statue on Monday evenings and, together with the anthropomorphic goddess, explores new ideas and perspectives, soon finding herself in love. But her newfound life is threatened when the museum curator wants to keep Venus all to himself, forcing Rika to decide what she will do about this strange new connection. Leaning into the same quiet surrealism as in Diary of a Void, When the Museum is Closed is a dreamlike take on desire, loneliness, and the transformative power of being perceived by others.

Brazil

On Earth As It Is Beneath by Ana Paula Maia, translated from Portuguese by Padma Viswanathan

For fans of I Who Have Never Known Men and Tender is the Flesh, Ana Paula Maia’s latest novel translated into English, On Earth As It Is Beneath is a gruesome account of what can happen when violence is allowed to reign supreme. In a country where people have been enslaved and tortured, a penal colony which only incarcerated men is shutting down. But with the loosening of control, a no less brutal system takes over. On every full moon, the inmates are set free, the warden armed with a rifle, and a hunt begins. Planning their escapes but never knowing who is a friend and who is an enemy, the men can’t tell what direction the threat is coming from—or indeed if life beyond the walls will provide them with better prospects. Like in her previous novel, Of Cattle and Men, Maia demands that her readers bear witness to the violence we are capable of when pushed to the extreme, or when power is left unchecked.

South Korea

The Midnight Shift by Cheon Seon-Ran, translated from Korean by Gene Png

Part crime novel, part queer vampire love story, The Midnight Shift by Cheon Seon-Ran—author of A Thousand Blues and winner of the 4th Korea Sci-fi Literature Award—follows detective Su-yeon, who takes it upon herself to investigate a string of deaths at a local hospital. Her colleagues all rule the deaths of the deceased—four elderly patients who seemingly all jumped out of a 6th floor window—as suicides caused by loneliness, but Su-yeon, whose grandmother is also a patient on the same floor, is scared something will happen to her next. As she starts investigating, a mysterious woman named Violet steps forward, claiming to be a vampire hunter. She is searching for her ex-lover, Lily, and insists a vampire is behind the mysterious deaths. Diving into the fantastical, The Midnight Shift is a fast-paced commentary on loneliness, isolation, and grief.

Midnight Timetable by Bora Chung, translated from Korean by Anton Hur

National Book Award finalist and Booker Prize shortlisted author Bora Chung returns with Midnight Timetable: a novel-in-ghost-stories. Set in a mysterious research center which houses cursed objects, where footsteps echo in empty hallways, doorways disappear behind you, and cats can talk, a night shift employee soon discovers why few employees last long at the Institute. Through her trademark bizarre and uncanny motifs, this literary horror novel is an exploration of power, corruption, and late-stage capitalism. From animal testing to conversion therapy and domestic abuse, Midnight Timetable is as steeped in the fantastical and whimsical as it is in the horrors of everyday life.

Mexico

Restoration by Ave Barrera, translated from Spanish by Ellen Jones & Robin Myers

In the vein of Juan Rulfo, Angela Carter, and Mariana Enriquez, Restoration by Ave Barrera is a ghost story of sorts, exploring the male gaze, obsession, and ill-fated love. The novel follows Jasmina, who has been commissioned to restore the dilapidated family home of her current situationship. The house, once the home of famous artists, has become an abandoned time capsule, full of holes and cracks in the foundation. As Jasmina starts her repairs, the house comes alive, telling her its stories of previous residents and the women who walked its halls before her. Soon, these stories begin to overlap with her own, causing her to wonder where the boundary between self and these forgotten women lies, and ultimately asking the reader to consider where the line between novel and reality is drawn.

Portugal

Grace Period by by Maria Judite de Carvalho, translated from Portuguese by Margaret Jull Costa

First published in 1973, Grace Period by Maria Judite de Carvalho is a story about a man at a crossroads and about how to move forward with life when you have one foot stuck in the past. After 25 years away, Matea Silva returns to sell his childhood home in order to send his dying girlfriend on her dream trip to the Acropolis. In a rush to make it happen before she passes, he sells the house to the first bidder: a former friend whose wife, Graça, was Matea’s first love. Struggling to reconcile the woman he sees now with the beauty in his past, and the events that ultimately tore them apart, he feels unable to change direction in a life that seems out of his control. Set on the cusp of the Carnation Revolution that would come to overthrow a four decades’ long dictatorship and told in Maria Judite de Carvalho’s unsentimental and precise prose, Grace Period stands as a parallel to a country on the eve of change.

Argentina

The Event by Juan José Saer, translated from Spanish by Helen Lane

Winner of the 1987 Nadal Prize and penned by an author lauded as “the most important Argentinian writer since Borges,” The Event by Juan José Saer follows Blanco the Magician. Performing his feats of telepathic marvel and tricks of the mind all across Europe, he is suddenly forced to emigrate to a remote corner of Argentina when he is exposed as a fraud. Together with the enigmatic Gina, he hides away in obscurity and tries to rebuild his sense of self, only to be drawn into a series of events that challenge the laws of logic. Stretching from Europe to Argentina, The Event explores themes of deception, exile, and identity—all while blurring the line between illusion and reality.

Haiti

Cécé by Emmelie Propheté, translated from French by Aidan Rooney

Set in the Cité of Divine Power, a neighborhood in the outskirts of Port-au-Prince, Cécé by Emmelie Propheté throws the reader into a world marred by gang violence and territorial disputes. After witnessing the deaths of her mother and grandmother, the eponymous Cécé lives with her bedridden uncle Frédo, accompanied by the soundtrack of street vendors, children playing, radios at full blast, and gunfire. In an attempt to make a better life for herself, she buys a smartphone and quickly gains a large online following under the online persona Cécé La Flamme. Documenting her reality while people watch on in horrified rapture from the safety of their own homes, Cécé is an account of a young woman trying to reclaim her own story, asking what it means to bear witness to violence—a violence that is increasingly commodified for entertainment. But, beyond the violence also lies a tender tale about community and survival, and the importance of human connection.

India

Andhar Bil by Kalyani Thakur Charal, translated from Bengali by Asit Biswas

In a newly formed country, around a local body of water known as Andhar Bil, a group of Dalits of the Matua Sect settle to rebuild their lives in the wake of partition. The bil, resembling the one they left behind, acts as a central character in its own right, bearing witness to the community of refugees as they attempt to start fresh while honoring long held traditions. Around its shores, children play, marriages are celebrated, and new generations grow up to leave, like generations before them left to explore new land. Told as an episodic, loosely woven narrative, at its heart is a young woman of the community, Kamalini, who will one day do just that: leave for the city. Written by Dalit feminist poet, critic, publisher and editor Kalyani Thakur Charal, Andhar Bil is an ode to the Dalit community, written with tenderness and a deep understanding of the region.

Kurdistan

The Competition of Unfinished Stories by Şener Ozmen, translated from Kurdish by Nicholas Glastonbury

From novelist, poet, and internationally acclaimed visual artist Şener Ozmen comes a bold English-language debut, set in Turkish-occupied Kurdistan. The Competition of Unfinished Stories centers around Sertec, a vehement atheist and aspiring writer who finds himself teaching theology at an Islamic school while attempting to write stories about the larger-than-life characters that comes to him. But Sertec can’t seem to finish any of them, and soon finds himself spiraling into madness as his marriage falls apart and he loses grip on reality. Through Sertec’s schizophrenic tendencies, the novel asks whether imagination is always harmless, or whether it can sometimes be the very thing that paralyzes us.

Italy

The Burning Origin by Daniele Mencarelli, translated from Italian by Octavian MacEwan

After leaving Rome and his working class background behind for a chance to start anew in Milan, Gabriele is now a world-famous designer and someone who has seemingly “made it.” But he hasn’t been home for four years, and when he returns for a family celebration, he finds everything and everyone unchanged. Between the Tuscolano neighborhood of his childhood, his provincial family, and a tight-knit group of former friends, Gabriele can’t help but feel nostalgic yet ashamed of his origins. At the same time, he finds himself deeply unsatisfied with his present and when a rumor threatens to reveal how he really achieved his success, he has to contend with the contradictions between who he was and who he has become. In this fast-paced novel, Mencarelli offers a loving portrait of Rome, exploring the complex emotional consequences of social mobility and self-invention.

Ecuador

Carnaval Fever by Yuliana Ortiz Ruano, translated from Spanish by Madeleine Arenivar

Winner of the 2023 English PEN Translates Award and named one of the 50 best books of 2022 by El País, Carnaval Fever by Yuliana Ortiz Ruano is a celebration of Afro-Ecuadorian identity and female resilience. Ainhoa grows up in her grandmother’s household surrounded by strong women. Between her grandmother’s firm hand and a constellation of aunts, these women teach and protect her, anchoring her through spirituality and a celebration of life—particularly during Carnaval season. But behind this joyful existence lurks poverty, precarity, and male violence. Through it all, it is the power of sisterhood that will ensure the continued existence of the community, as it goes through heartbreaks, migration, and violence.

Poland

House of Day, House of Night by Olga Tokarczuk, translated from Polish by Antonia Lloyd Jones

Nobel Prize winner and internationally renowned author Olga Tokarczuk’s latest novel translated into English, House of Day, House of Night, has remained a bestseller in Poland since it was first published in 1998. Set in Nowa Ruda, a small town in the historically contested region of Silesia—an area that has been tugged between Poland, Germany, and the former Czechoslovakia—it is a story about how places can form who we are and who we become. When a woman settles in town, knowing no one, she soon meets the village’s few inhabitants, in particular her enigmatic neighbor, Marta. But beyond the living, the village is overflowing with stories of the dead. Tracing the stories back to the founding of the town and even the saints themselves, the novel acts as a testament to the fact that all places, no matter how small and insignificant they may seem, have their own histories and roots, teeming with life.

These Carson McCullers Stories Are Haunted By Mothers Who Can’t Be Their Authentic Selves

Snow fell outside the hotel conference room, and my breasts grew heavy with milk. I sat in a cushioned, straight-back chair amongst a dozen other students from my creative writing graduate program. On my lap was a printout with a selection from a Carson McCullers short story called “The Haunted Boy.” When this seminar was over, I would meet my husband and two young children back at our hotel room and nurse my not-quite-one-year-old baby. 

The instructor asked someone to read the story excerpt aloud. In it, a teenage boy comes home with a friend from school and finds his mother absent. The scene plays out much like my children’s well-worn copy of Where’s Spot? Is the mother in the garden? No. Is she in the living room? No. Is she in the kitchen? No, there’s only clean pans and a lemon pie on the counter. The signs of this mother’s labor are all around the house, but she is not. 

The boy worries, “sickened with a sudden chill remembrance of ‘the other time.’” A man in my class commented, “It sounds like there’s something off with the mother, like maybe she isn’t very involved.” Our instructor nodded thoughtfully. I read again about the “fresh checked towels” and the “wax-floored hall” and the spring flowers in the garden, of which this mother had taught her son the names, and I seethed. Can’t this poor lady get five minutes to herself? I thought. 

Perhaps I felt this man was talking about me. Throughout the 10-day graduate residency—intended to be an intensive creative retreat—I had felt both not present enough as a writer and not present enough as a mother. I hurried back from every seminar to nurse the baby, and I missed bedtime stories to attend faculty readings. Of course, no one had forced me to start a masters program at eight months pregnant. I chose to be both a mother and a writer—two identities that come imprinted with inescapable fantasies of what we, as a culture, imagine them to be. There’s the solitary writer, escaping into Thoreau’s wilderness, unburdened by cell phone service and children, responsible to nothing and no one but his own ingenious imagination. Opposite him is the dutiful mother, attached at the hip—and the breast—to her children, as she lovingly prepares a home-cooked meal. These images haunted me at the residency, not only because I feared other people expected me to embody them, but because I myself wanted to. 

After I flew home (my children both charming and annoying everyone on the plane), I kept thinking about “The Haunted Boy.” I obtained a copy of the story and read it in full. Upon this reading, I learned that Hugh’s all-consuming worry is due to his mother’s past suicide attempt, when Hugh found her alone in the house, covered in blood. McCullers reveals the mother to us, ghostlike, through her son’s anxieties. When the boy, Hugh, feeds his friend a slice of her homemade pie, he makes excuses for why the crust is store-bought instead of made from scratch: “We think this graham-cracker pastry is just as good. Naturally, my mother can make regular pie dough if she wants to.” Even this mother’s accomplishments are seasoned with her shortcomings. 

“My mother is a super cook,” he insists to the friend, who seems to represent some nascent patriarchal power. “She cooks things like meat pie and salmon loaf – as well as steaks and hot dogs.” Reciting this banal menu, he reassures himself.

We never get a full, three-dimensional portrait of the mother. McCullers writes of her room, simply, “The lady things were on the dresser.” To Hugh, the mother is a feature of the house, a light he turns on when he enters, until one day he finds the bulb broken. But while Hugh’s understanding of his mother’s interior life is limited, he is not a stock stand-in for toxic masculinity either. He allows—even invites—his friend to see him at his most vulnerable, begging him not to leave while he looks for his mother. Hugh confides to the friend that she was institutionalized for a time. The friend, in response, “reached out and carefully stroked Hugh’s sweatered arm.” 

The story is rich with tension until its final pages, when the mother—to my great relief—returns home safe, wearing a new dress and shoes. She has only been out shopping. At this moment, Hugh’s fear morphs into anger. McCullers writes, “He could not stand his love or his mother’s prettiness.” How dare she make him worry? How dare she not be there when he needed her? I am reminded of my own children, climbing onto my back without asking, or screaming in frustration if I don’t “look!” fast enough at a creation they’ve made. I am also reminded of the Zadie Smith quote: “What do we want from our mothers when we are children? Complete submission.” To Hugh, his mother is just that: his mother. His own burgeoning manhood demands her constant presence and the sacrifice of her selfhood. His worry, therefore, is not only personal but existential: If she dies, what happens to him? 

McCullers reveals the mother to us, ghostlike, through her son’s anxieties.

Hugh’s father comes home, too, and he comforts the boy privately by commenting on how nice the mother looks in her new clothes. She is neither the first nor the last woman to find solace in shopping. 

“The Haunted Boy” first appeared in a 1955 issue of Mademoiselle, a magazine that published “shoe and stocking news” (according to one cover) alongside stories by Truman Capote and Joyce Carol Oates. For middle-class white women like McCullers (and like myself), the 1950s was a time of economic boom and increased consumerism, when teen culture emerged and the nuclear family atomized in the suburbs. 

Carson McCullers was my age, late 30s, when she wrote the story. Hailing from the South (also like me), she alternately conformed to and defied her culture’s patriarchal fantasy of what she should be. The author Jenn Shapland captures McCullers’ complexity exquisitely in her memoir-biography, My Autobiography of Carson McCullers. She writes of the author’s personal style: “In some photos from her twenties, she wears a white dress, has long, waving hair past her breasts. In others, she wears a suit and a bob.” McCullers loved many women throughout her life, but married (and divorced, and then remarried) a man. It’s hard to understand why she remarried her ex-husband; there seemed to be little reason except that he wanted her to. The year was 1945; as Shapland writes, “More marriages occurred during these years than in any other period of US history, and as men came home from the front the pressure for people to return to heteronormative gender roles mounted from many corners of society.” McCuller’s husband, like her, was queer and closeted, and perhaps for this reason battled debilitating alcoholism. He abused McCullers emotionally and physically until one night in a hotel in Paris, he killed himself with sleeping pills. She didn’t attend his funeral. 

Much of McCullers’ work is queer or queer-coded, depicting tomboys, gay characters both open and closeted, and same-sex “friendships” that read like love affairs. The title of her first novel, The Heart Is a Lonely Hunter, comes from a poem by William Sharp, who for many years carried on a female alter ego named Fiona Macleod. When I read about Sharp/Macleod’s “ambivalent” relationship with W.B. Yeats, I heard Shapland in my ear, pointing out that many of McCullers’ relationships were also called “ambivalent.” 

My copy of “The Haunted Boy” comes from a slim, three-story collection by the same name, published in 2018 as part of a Penguin Modern box set. Each story in the book takes place within the confines of a heterosexual nuclear family’s home. The second story, “The Sojourner,” follows a worldly yet lonesome man who visits his ex-wife and the family she has built with someone else. He seems to long for the woman and, perhaps, for this domestic life he could have had with her. It’s hard not to see a bit of McCullers in the character of the sojourner. Was she thinking of her own decision to reunite with her ex-husband when she wrote this? 

Her choice to write from a male perspective is both curious to me and not. When I began writing as a teen, I idolized Fitzgerald, Salinger and Hemingway, identifying with them and their characters without ever thinking of them as “male.” Likewise, I never thought of myself as a “female” writer. McCuller’s choice of point-of-view could be a strategy for avoiding confinement in the women’s fiction shelves, or a craft choice, or another hint at her sexuality and/or gender expression. Perhaps, like me, she simply felt at odds with her culture’s portrait of femininity. 

In the story, the sojourner’s ex-wife becomes more appealing to him by the minute when surrounded by her children. He muses that she “was very beautiful, more beautiful perhaps than he had ever realized. … It was a Madonna loveliness, dependent on the family ambience.” We see here the male gaze turned mother-ward. Alexis Pauline Gumbs, co-editor of the anthology, Revolutionary Mothering, writes in her essay “m/other ourselves: a Black queer feminist genealogy for radical mothering” that motherhood is “a status granted by patriarchy to white middle-class women.” Mothering, on the other hand, is an act of care done in community, outside patriarchy, and “is a queer thing,” she writes. “Not just when people who do not identify as heterosexual give birth to or adopt children and parent them, but all day long and everywhere when we acknowledge the creative power of transforming ourselves and the ways we relate to each other.” Gumbs draws particular attention to the word “other” contained in “mother.” She is not arguing that our definition of motherhood should expand to include those traditionally excluded by the term. To stop there would be “assimilating into existing white supremacist norms of family.” What Gumbs and her intellectual ancestors call for instead is to “create something new,” something queer. 

McCullers herself never had children, but that’s not to say she didn’t have a family. She spent part of her twenties living in February House, a three-story Brooklyn brownstone that she shared with other queer artists. She lived off and on with her sister and mother, who helped care for her during her frequent bouts of illness. And she maintained a long-term partnership with her former therapist in the latter years of her life. The only person she couldn’t stand to live with, it seems, was her husband. 

Queer family shows up not only in McCullers’ life but also in her two most famous novels. The Heart is a Lonely Hunter depicts a poignant relationship between two deaf men who live together and care for each other, until they are forced apart by a blood family member. The Member of the Wedding follows a twelve-year-old tomboy coming to terms with being an “unjoined person” while longing to join her brother and his fiancée’s bond. 

Then there’s the last of the three stories in my collection, “A Domestic Dilemma.” It reveals how motherhood as the patriarchy has defined it—caring for a child in virtual isolation—guarantees not only a mother’s undoing and the death of her true self, as we saw in “The Haunted Boy,” but also the neglect and harm of her children. In the story, a father leaves work early and comes home to his house in the suburbs, where he finds his children unattended in the living room, their mother drunk upstairs. Again, food signals failure: It’s dinnertime, yet the mother, stinking of sherry, has prepared nothing. Like Hugh’s mother discovering the joy of shopping, we witness the spectral modes of self-expression allotted to this woman: “Often at such times she affected a slight English accent, copying perhaps some actress she admired.” Finally, there’s the heavy, uneasy apprehension that all is not right in this household: “If you could only realize how sick I am –,” the father says, “how bad it is for all of us.” By “it,” he means his wife’s alcoholism. But McCullers, I imagine, means much more. 

If her performance of gender is exposed, what does that mean for her husband’s?

While this story is clearly about the ills of the patriarchy, the father’s desires, like Hugh’s, are complex. He fears the town’s gossip, feeling his wife’s drunkenness undermines his manhood. But he also enjoys the tenderness of bathing his children. I am reminded of my grandmother’s surprise when, while staying at her house, my husband took the children upstairs to give them a bath. “You mean he bathes them too?” she asked in astonishment and delight. Perhaps it is possible for even those of us in heterosexual nuclear families to queer mothering. 

McCullers writes of the suburban husband, “For the first time that evening he looked at his wife.” Looking at her requires him to see who she has become: a depressed drunk who cannot care for her children and hates the life her husband has built for her. She is the tradwife behind closed doors, after the selfie camera has been shut off. If a tradwife’s hyper-feminine, drag-like performance is designed for the eyes of men, not for women—as some have speculated—the tradwife in this story is not worth watching, because her faults belie the artifice of her motherhood. And if her performance of gender is exposed, what does that mean for her husband’s? A whistle of wind, and the house of cards quivers. 

I think back to the opening line of “The Haunted Boy:” “Hugh looked for his mother at the corner, but she was not in the yard.” Hugh finds his mother at the end of the story, but does he really? He is haunted by the traumatic memory of her suicide attempt, yes. But he is also haunted by her authentic self, which he will never find—not here in the suburbs, and not in the 1950s American vision of family. 

The men and boys in these stories desire mothering, but they look for it in motherhood—the uncanny double that their own sex has invented and imposed. To enjoy true mothering—the tender care and comfort, the love and connection and kindness—would require them to give up the jig: to relinquish their power and dominance. Until they do so, they will never find the mother they long for, but they will never stop seeking her either. She will haunt these boys their whole lives, and longer.

8 Books About Space That Reimagine What It Means to Live on Earth

Space has long been a frontier myth rewritten in the language of rockets and nationalist dreams. But lately, it’s gotten increasingly tangled up with the priorities of American billionaires. From asteroid mining to nuclear waste storage and space hotels, our billionaire class promises us ways to transport venture capitalism to new worlds, albeit leaving this one in ruin. Companies map out interplanetary borders and prospect the moon for water. 

Meanwhile, we’re no longer in the age of Big Government space projects. The Cold War era’s space race has come and gone, and whispers point to an impending slashing of NASA’s budget, which was already facing big deep cuts with a change in US leadership. With the US space program on shaky ground, are we just left with the billionaires up in the stars, bidding for defense contracts and humming Katy Perry? 

The Kármán Line, my hybrid-genre book of prose and poetry, asks whether we can imagine new relationships to the literal cosmos. I journey to Spaceport America, a commercial space launch site in Truth or Consequences, New Mexico, where I find myself tracing fantasies of space and queer life through a character who asks why we desire distance—from ourselves, from our histories, and even from the Earth itself. The Kármán line, a 1950s mathematical equation by Hungarian aerospace scientist Theodore von Kármán, is our only current reference for any kind of jurisdictional boundary between the Earth and space, a place at the edge of earth’s atmosphere where national borders cease to exist. What’s beyond it is known as “free space”: a threshold of possibility. In writing The Kármán Line I found myself asking, what is free space? 

Literature, like space travel, offers an escape, but also a way to reimagine what it means to be tethered to this planet, to each other, to the futures we may or may not reach. A multi-genre class of experimental writers challenged me to think against the steady gravitational pull of capitalist orientations to space. Space belongs not to the empire, but to the storytellers, the poets, the dreamers who refuse the logic of extraction and conquest. Each of these books remind us that another world is always possible, whether here, “out there,” or somewhere between. 

Fires Seen From Space by Betsy Fagin 

I read Fires Seen From Space in one fell swoop after hearing Betsy Fagin read in person at The Poetry Project in New York City. It’s a blazing poetry collection that inhabits what some anthropologists call the “pyrocene,” a new geologic term describing an age characterized by human‑driven fire activity, or what Fagin paints as our time of the titular “fires… seen from space.” Elegiac and revolutionary in the same breath, Fagin weaves together meditations on ecological collapse, lives lived in “careless possession,” and afrofuturist visions of resistance. The radical care and patience required for resisting oppressive systems, an ethos that Fagin may have drawn from her time helping to build The People’s Library at Occupy Wall Street or wearing other activist hats, is depicted beautifully, in fragmented imagery sourcing itself from life, affect, and ontologies beyond the terrestrial.  

Dark Matter by Aase Berg (translated by Johannes Göransson) 

A surreal, unsettling book of poetry that deforms language itself, Dark Matter reads like a transmission from an other-than-human consciousness in an other-than-Earth setting. Berg’s poetry moves through alien ecologies and dystopian transformations. It makes material matter, even where form is unrecognizable, cyborgian, and other-wordly. Where material is a body in Dark Matter, it is hybrid or mutant. It coalesces or disintegrates according to obscure logics.. What feels urgent about these poems is their refusal to inhabit a practice we recognize, bringing instead energies hostile to states of being (and bodying) within our rigid Earthly frameworks. 

After Spaceship Earth: Art, Techno-utopia, and Other Science Fictions by Eva Díaz 

Eva Díaz’s brilliant rethinking of R. Buckminster Fuller’s utopian vision of our planet as a shared spaceship, “Spaceship Earth,” is a secret way to dive into a critical history of art about space. But After Spaceship Earth is not a survey—it comes with its own distinct lens that is itself a politics. I was struck by how Díaz weaves Fuller’s geodesic domes and techno-optimism into the work of over thirty contemporary artists who dismantle the imperialist, corporate, and patriarchal myths of space exploration. Through artists like John Akomfrah, Mary Mattingly, and Farhiya Jama, Díaz reveals that outer space is not just a playground for billionaires but a contested site where histories of colonialism, racial injustice, and gender exclusion are reimagined. I appreciated how she connects Afrofuturism and ecofeminism to Fuller’s experimental spirit, yet exposes his blind spots. This book is a counter-narrative to the exploitative dreams of SpaceX and Blue Origin, insisting that just, sustainable, and plural futures are possible.

FUEL by Rosie Stockton

While this poetry collection takes place on Earth, Stockton’s meditations amid a worsening climate crisis and “impossible apocalypse” pulls us through scenes spanning Los Angeles neighborhoods and pumpjack oil fields. FUEL is a punk polyphony that explores a world transformed by water scarcity and veiled stars, inhabited by a narrator that wants to love and fight in the breakage. I found this book to be an intimate, speculative meditation on how humanity faces extinction, grief, and continuation. Poems titled “Dear End,” conclude its sections. Stockton refuses didacticism and moves through raw, messy and tender interpersonal moments. The collection resists techno-imperialist fantasies of escaping Earth, instead asking how we carry love and loss across generations, in and through contaminated futures. For me, this became a book about space as a fragile continuum of human longing, insisting that even amid planetary ruin, our capacity to imagine compassion survives, tethering us imperfectly to each other.

How High We Go in the Dark by Sequoia Nagamatsu

Also set on Earth, Sequoia Nagamatsu’s novel takes place in a world and time outside our present, drawing us through interconnected stories spanning centuries. How High We Go in the Dark is a haunting, polyphonic novel that explores a near-future world transformed by a recently thawed, ancient Arctic virus that sets off a devastating global plague.Each chapter introduces characters like scientists, grieving parents, children, robots, and space explorers whose lives intersect through acts of care and resilience. What struck me most is how Nagamatsu flips familiar sci-fi tropes: Space travel, cryogenics, and climate catastrophe become tender sites for mourning rather than conquest. This book insists upon our capacity for compassion, fusing us to each other and the stars.

Alien Weaving by Will Alexander 

Will Alexander is a radiant, high-intensity surrealist thinker whose language spirals into an extraterrestrial poetics that is not for everyone, but is certainly for some. When I first heard his work, I was captivated by the ways it functioned almost as an architecture structured to accomplish the infinite penetrability of one idea into the next. Alien Weaving was in hibernation for almost 15 years before it was published. Reading the book again recently, I felt like I was stepping into a supernova. The novella unfolds entirely within the supra-consciousness of Kathrada, an Afro-Indian poet whose breath births worlds. Rather than charting space as an empire to be mapped or mined, Kathrada’s mind is the cosmos. Poltergeists, spectral suns, and hallucinatory verbs constellate into an anti-cartography that dissolves colonial boundaries. I’ve started to think of Will Alexander’s work as annihilating the idea of space as a frontier. It considers space an inner infinitude. Alexander’s ecstatic Surrealism and radical Black poetics reject linear narration, familiar sense-making, and other forms of imperial reason. In Kathrada’s blaze of perception, space exists as a dimension of mind, an ozone of spirit, not a battlefield of domination. Alien Weaving reminds me that imagination itself can be a sovereign cosmos, ungoverned and luminously alive. 

The Dispossessed by Ursula K. Le Guin 

No list about space, power, and alternate possibilities would be complete without Le Guin’s The Dispossessed, which turned 50 last year. (Happy birthday!) If you, like me, were always meaning to read it, you may vaguely know that the book offers a vision of an anarchist moon society struggling against the gravitational pull of capitalism and excess. Le Guin’s twin planets, Urras and Anarres, extend state repression into space, where imperial logics go unchecked. But the novel’s profound counter-narrative centers in Anarres, the anarchist moon, which embodies a living experiment in mutual aid, collective decision-making, and freedom from private property. trust. Le Guin’s utopian worlds remain fragile and unfinished, forever vulnerable to bureaucratic rigidity and the pull of old hierarchies. 

Unlike stories that glorify space colonization as progress, The Dispossessed insists that freedom must be continually reimagined, not exported like a commodity. For me, this book remains a stunning reminder that the social life of space can reproduce earthly politics and economics, or become a galvanizing point for solidarity beyond national (Earth) borders.

Red Star by Alexander Bogdanov

I was introduced to Alexander Bogdanov’s Bolshevik utopian science‑fiction novel by McKenzie Wark through Molecular Red, her scholarly book that unpacks Bogdanov’s theories of labor and materialism through his early 20th Century writings. Wark’s take on the novel, Red Star, was so compelling that I had to see for myself what it’s like to be transported from a defeated Russian insurrection to a socialist society on Mars. On the red planet, the book’s main character and narrator, Leonid, encounters an organized, technocratic commune with rotating labor assignments, an experiment in collective living with advanced atomic energy and even atypical gender norms. The character intends to learn from this socialist system and return to Earth, specifically his native St. Petersburg, with new tools, but mishaps along the way, including a murder plot, leave him questioning much about his journey. What Bogdanov reveals through Red Star, and what is so particular to Bogdanov’s thinking and perspective after witnessing the Russian Revolutions of 1917 and clashing with Vladimir Lenin, is that utopia built on cooperative politics is fragile, imperfect and always creating itself. Future human and extraterrestrial world-making requires an enormous amount of trial and error. 

Grifting My Way Through the Influence Economy

“What’s Meant for You Won’t Miss,” an excerpt from You Have a New Memory by Aiden Arata

It went like this: Someone I met once three years ago was hiking. They packed the expensive sunscreen designed to smell like the cheap sunscreen of my childhood, and it was so effective I could smell it through the screen. Their Nordic nylon backpack glowed in a diffused dawn and the dog they could afford chased pine cones and there was so much chlorophyll in the air that if they hadn’t overwritten the forest with a soft-problematic 1960s folk ballad, I felt I could hear the trees sopping up sunlight. My barely-an-acquaintance smiled and smiled and I pictured a person walking through the forest alone, grinning, and something about how demented that is brought me peace, but not so much peace that I didn’t float over to a real estate app to browse Heath ceramic backsplashes and ebonized oak cabinetry, after which I flitted to YouTube and let a tech mogul’s tradwife show me how to open up a floor plan, and then I watched a survival tutorial on how to escape a sinking vehicle after crashing it into a lake not unlike the one my non-acquaintance was hiking to. When the tutorial turned out to be an advertisement, I sifted through my emails and then my influencer group chat for a low-stakes scam.

The other seventy members of the influencer chat would rather be called creators—a gesture at agency and expertise—but I like influencer; to me it sounds violent, Terminator-esque. Influence is a shapeless, pervasive force, difficult to pin down and thus easy to fear. We don’t know who will influence us, or when. Something might change you and you won’t even know it.

To stay in the chat, I was required to contribute three brand contacts a week—quality contacts, the moderator emphasized. No likes for likes, no affiliates. Nothing desperate. These were mercenary corporate sugar babies, open to any sponsor, impervious to the vitriol of boomers and incels and the just jealous masses. They promoted polyester milkmaid skirts and vegan hair vitamins and, once, a members-only NFT subscription service that purported to empower women in STEM by allowing them to create sexy nonfungible digital alter egos with changeable outfits. They were models-slash-actresses-slash-musicians. Their feeds were balloon arches and flower walls and thickets of hashtags. One had recently acquired an EDM DJ husband, and their wedding portraits were sponsored by a mid-tier suit rental company.

In Greek epics, between the lotus eating and the cruel conviction that return is possible, is Xenia: a social code, a standard of hospitality often translated as “ritualized friendship.” What is the influencer, if not the ritualized friend? They exist in the expanse between intimacy and celebrity—a weird, sweaty place to be—performing approachability and aspiration in equal measure. Power traders of the attention economy, they mediate the sharp sleaze of advertising into something soft and trustworthy. Gifting is a touchstone of Xenia, and the influencer chat was an endless stream of gifting opportunities: free brunches, screenings, hotels, hard seltzers, sandals, perfumes, baby wipes, body bootcamps, nonstick cookware, no-show shapewear. Mile by mile, you could get a free ride through life this way: the flight to Vegas from one contact, for example, and from others the executive suite, the slutty dress, the seafood tower. In the economy of the group chat, nothing was exclusive and everything was transferable. It was almost Marxist, this open exchange of product at the expense of the company shilling it.

The influencers possessed an admirable unshakable confidence in their entitlement to free stuff, an ability to ask for more in a way that felt generous in its asking. There was a spiritual lean to everything, no matter the product—the gift was inherently mystical by nature of being free and for you, reinforcing the law of the influencer universe: You are worthy. I integrated this messaging by shuffling through manifestation podcasts at the gym, the elliptical on its lowest setting, my eyes searching for a serene middle distance that wasn’t someone else’s tits. For the duration of a binaural loop I might break through, succumb to the belief that happiness is a discrete and neutral object, dissociated from history or circumstance or systemic oppression. Through a combination of verbal affirmations and light tapping, I could—I would—shatter through the thin pane of this life and into my destiny. I would take what was already mine. And then my unaesthetic orthopedic running shoe slipped and the machine sounded its cheerful calamity, and I was aching and normal again, and none of the resistance trainers even looked up.

Public relations girls emailed me to raise my awareness for oil-minimizing toners, multitasking eyeliners, and a perineal massage moisturizer from a company called Rosebud Femme, whose marketing team seemed blissfully unaware that rosebud is already a genital thing, and that thing is prolapsed asshole. A skincare company invited me to a Pride event honoring the dermatology community, with a performance by Adam Lambert. A face gym offered a complimentary workout, gleefully promising that “trainers will use their signature massage techniques like knuckling, pinching, and whipping strokes.” A courier delivered a three-course lunch and serum set to my apartment to celebrate the launch of a botanical skincare company. The pink gift bag was filled with rose petals; absorbed in my complimentary avocado toast, I forgot about them until days later, when they curled in on themselves and filled my kitchen with a powdery rotting smell.

I rarely emailed back, and initiated contact even less—not because I thought it was wrong, but because I was daunted by the challenge of writing a chipper email. But then someone I knew was in Italy again, and someone I didn’t know had fireworks at her wedding, and someone I hated had everything, and I filled out address form after address form for sheet masks and jawline-sculpting gum and self-cleaning litter boxes. Sometimes I responded to offers and sometimes I was the aggressor, supplicant and complimentary. I’d love to test drive for content consideration! In the moment I hit Send, I truly believed that I was going to post whatever they sent me. I pictured myself as someone aspirational: a flat lay, a self-deprecating caption. And then the product or the event arrived and it was a lipstick the cool mauve of a corpse, or it was a dinner at which I sat next to a public relations girl and sampled terpene-infused cocktails until the public relations girl, loaded on terpenes and recently single, dissolved over mention of Valentine’s Day and wept into my mushroom risotto.

What is the influencer, if not the ritualized friend?

Historian and archaeologist Ian Morris draws from Marx, Mauss, and Lévi-Strauss to distinguish gifts from commodities thus: While a commodity is “an alienable object exchanged between two transactors in a state of mutual independence,” a gift is “an inalienable thing or person exchanged between two reciprocally dependent transactors.” What defines a gift is the relationship between the transactors—their dependence on one another. When the time came to post, I inevitably betrayed the bargain. I typed thank you and faltered. I held a bottle of now-with-less-forever-chemicals nail polish to the light and was struck by how strange my hands looked, the bulging knuckles, the one persistent dark hair on my right ring finger. My fingers had large pores. My palms were too square. Any Instagram witch could assess my lifeline and find it lacking. The tips of my nails were already chipped—would I have to follow up with a post about how I liked chipped nails? Would it become my brand? I moved quickly and thoughtlessly through the online successes of others, performing my rote rituals of inadequacy with a satisfying sting, but when it came to affirming my own abundance I ignored follow-ups, blocked contacts, and swore off grifting until the next desirous fugue attack.

One could spin this as righteous. There’s a righting of the scales in a tiny scam: quiet justice in a world of MLMs and health insurance premiums. When talking about influencers, there’s an impulse to default to words like shameless. But what’s so great about paying for things? What’s so great about shame? It’s fair to say that influencing is, overall, perceived as the purview of women; women have long created industries at the edges of economy and have long been derided for it. To use one’s beauty or affability or capacity for intimacy for the acquisition of power, and then to be shamed for that power, is an experience that predates gift economies. (In the epic times of Xenia, women were gifts.) And anyway, the rhetoric of manifestation—the rhetoric of happiness—is all about the diffusion of shame. Sometimes, like when I was emailed about an oil heiress’s vegan clothing line, I simply wrote back, pervert.

But public relations girls talk. The address forms no longer led to packages. When I requested products, the responses were laced with suspicion: What outlet is this for? or more pointedly, Oops! This list is full. I risked excommunication from the influencer chat. These were the stakes when I received an email from an upscale sportswear company that promised a free outfit and spa day at the brand’s wellness house. A doorway: a way back to where I belonged, where everything was free.


The Sunset Strip is one of those Los Angeles neighborhoods where no one from Los Angeles actually goes. It’s embarrassing, overpriced, preserved in the amber of the early 2000s, all giddy consumption and dead-eyed sex appeal. It’s where the girls stay in the LA episode of Sex and the City, and where the boys cruise in the opening credits of Entourage. There’s the Coffee Bean where Perez Hilton once regularly camped out to draw cum stains on paparazzi shots of struggling women, and the Hustler store, and a jarring number of sixty-year-old men with ponytails and fake British accents who won’t date above twenty-five. The Sunset Strip was the natural choice for an eight-bedroom, nine-bathroom, $24 million party house, which was, in turn, the perfect place for a sponsored influencer wellness retreat.

The invitation instructed me to wear only branded clothing to the event, so my first stop was the brand’s flagship store in a Mid-City outdoor mall. The mall was overstimulating, the store’s second-floor gifting suite inexplicably but delightfully overrun by influencers’ off-leash purse dogs. Stained and wrinkled clothes splayed across the dressing room floor. The public relations girls smiled grimly through it, sifting through cardboard boxes of leggings in plastic envelopes. I tried on a series of humbling $70 mesh yoga shorts and opted for turquoise leggings and a matching sports bra. My public relations girl stuffed my street clothes into a branded tie-dye tote, along with a hat, scrunchie, and socks.

I bought a Sprinkles cupcake on my way to the car and ate it sitting in traffic. According to the scholars of epics, another thing that separates gifts from commodities is that the gift is inalienable: On some level, it never leaves the giver. It follows them around, an extension of their identity. Every item I’d been given was marked with the brand’s logo, so when I put the outfit on I became the brand incarnate. In a haze of sugar and smog, I idly ran my hand along the inside edges of my purse until I hit a soft mass: two sports bras liberated from the dressing room, snuck past the event staff even though they were already free. I wiped the crumbs from my fingers on them.


The party house was actually two buildings, all concrete and glass, a minimalist contracting budget posing as minimalist design. There was a long driveway with a valet stand and two podiums, marked Air and Earth, a public relations girl behind each. I gave my name at Earth and was told to check in at Air. I walked six steps to Air, said my name again, and was instructed to go to Sea.

Between the buildings was a courtyard with a small stage on which six-foot-tall letters spelled out the brand name. There was also a coffee cart, and a white Jeep parked drunkenly across some grass. Women climbed on the Jeep in their sportswear, writhing, posing for photographs. Beyond them I found the Sea podium, where a public relations girl pointed me to one of the buildings.

When talking about influencers, there’s an impulse to default to words like shameless. But what’s so great about paying for things? What’s so great about shame?

In places of great wealth or beauty, I always felt like a fraud. I have short legs and buccal fat, and walking past the Jeep I was struck with panic that I would be tested on my wellness. Anyone could walk up to me at any time and ask me to do the splits. This was something I admired about my influencer peers: their ability to show up and fit in, to audience-test parts of themselves until they landed on something profitable. One girl’s main account was the most successful of several exercises in identity, and her lesser projects remained public out of pride or apathy: a page devoted to a cat that she later relinquished in a bad breakup; a podcast page that hadn’t posted in three years; a cooking vertical with a smattering of shots of meal-prepped shrimp tacos, the plates angled on a dark and unclean sofa and encircled in portrait mode migraine auras. She didn’t seem to consider these abortive endeavors failures; instead, she used them to comment emojis on her main account. An outsider might say she lacked depth or integrity, but she’d never asked for depth and integrity. I, however, had asked for wellness and attractiveness and influence, and came up lacking.


My spa day turned out to be a fifteen-minute chair massage. My massage therapist was soft-spoken, worried about applying too much pressure. I hadn’t been touched by a stranger in twenty months. After the massage, I let the therapist press various products into my palms, promising I’d promote them, warm from her hands on me, grateful.

Scam accomplished, I wasn’t sure what to do with myself. I’d been too embarrassed to ask the group chat if anyone was attending this event; I wasn’t even sure I wanted to meet them. I meandered to the gifting suite, hoping to secure a free yoga mat or more socks before driving home. A woman with an undercut and an earpiece stopped me. I couldn’t go in that way, she said. I was supposed to be at the pool party.

On the other side of the building, sixty hot people had somehow known to bring bathing suits. They lounged in the grassy yard, kicked their legs in the sleek, narrow pool. At the pool’s edge, a woman floated on Nike Air roller skates. A man in a taupe Speedo twirled, arms raised, before swan diving into a perfect downward dog. A DJ played the sort of benignly clubby beats you hear in car commercials. There were strategically placed mirrors with lines of people waiting to angle their bodies in front of them, phones raised. There were communal selfie sticks and event photographers wearing all black and wielding DSLRs. You could be photographed at any time, so guests paused mid-walk to perform headstands. They cheated out while they talked, like actors on a stage. They listlessly played table tennis on a branded table, pausing when they raised their branded paddles, smiling hopefully over their shoulders. Maybe the bathing suits were in the gifting suite. I tried to get in from the pool entrance, and another public relations girl told me the suite was “on pause.” I should stay for the sound bath.

At a tent labeled the Mindful Masters Lounge, I signed up for an intuitive reading. At the pool bar I received a gin cocktail featuring an alkalizing mushroom powder that tasted like mud, and a chickpea quinoa salad bowl catered by a prestige health food store known for its $24 smoothies. The store was originally established in the 1960s because the founder believed that if people were better nourished, they would no longer tolerate war.

I watched a team of public relations girls greet a recent Bachelor contestant and her on-again-off-again fan favorite boyfriend. They were beautiful in real life, beaming for photos by the branded photo backdrop. In life, as online, everyone seemed sunny, flat, puppy-fun. Did I? I had a valet ticket and a sports bra and a cocktail. I was an ambassador of wellness. I sat alone in a patio chair and watched the gifting suite gatekeeper deny entry to another group of guests. I ate my salad, which was full of bitter greens.

The influence economy had only existed for a decade; the first generation of online personalities was just now aging out of the hot-girl market. A low-voltage resource anxiety ran through the pool party: What comes next? To rely on the market is to rely on one’s marketability. You saw it in their faces. Anti-aging procedures purport to aspire to a more youthful version of the recipient, but the filled and Botoxed faces of the pool party were a study in posthuman beauty. They were literally anti-age: divested from time. An anti-aged woman could be twenty or sixty years old and occupy the same class of uncanny glassine appeal.

I felt it in the group chat, too. Lamenting her frigid audience engagement, one member purchased a doodle puppy and launched a new account the same day, with its own family-friendly brand voice: Follow me for daily pupdates. A true gift economy, Morris argues, “is above all a debt-economy, where the actors strive to maximize outgoings. The system can be described as one of ‘altering disequilibrium,’ where the aim is never to have debts ‘paid off,’ but to preserve a situation of personal indebtedness.” The puppy’s account was small but growing.


A few photographers huddled around the gifting suite entrance, among them a familiar face—a friend, kind of. We’d never interacted in person; we’d spent at least a year as characters in the LA Creative Cinematic Universe, exchanging story replies and eye contact across the gravelly courtyards of natural wine bars, slouching toward human connection. I messaged him, are you at an incredibly chaotic yoga influencer event rn? and he responded, LOL.

In places of great wealth or beauty, I always felt like a fraud.

I realized, with horror, that I was about to be witnessed. Here I was: lilting my voice and asking about the brand’s new magnesium spray, rolling on my spandex and driving an hour for a fifteen-minute massage.

My friend found me on the patio, and I instinctively crossed my arms to cover the noisy teal yoga outfit, the lengths I went to for an afternoon of aspirational grifting.

“How are you?” he said.

“Humiliated,” I said.

My friend had been working the VIP lounge; apparently I’d been with the bottom-shelf influencers the whole time. He told me they’d made him change his clothes so as not to stand out, and to crop out anyone who wasn’t wearing the brand head-to-toe. This was a three-day event, apparently, orchestrated to get the brand a few months’ worth of content. Yesterday a teen had gotten wasted on mushroom cocktails and yelled “I am awakened!” during group meditation. The photography team was instructed to delete that content.

My friend also told me that the gifting suite was closed because all nine bathrooms inside the party house were completely backed up with shit. The entire house smelled like shit, in fact. It was coming up through the shower drains. I asked if he was fucking with me, and he wasn’t, and we stood in silence for a minute, looking up at the uncaring glass exterior of the second floor, the wavy reflection of the party.

My friend who wasn’t really my friend shuffled off to document three women with matching braided pigtails and I walked around the pool alone. I watched a woman evade the fridge steward, absconding with two fistfuls of Lärabars. I returned to the Mindful Masters Lounge to find that the Bachelor alumna had taken my intuitive reading slot. I sprayed myself in the face with sunscreen just to feel something.

A woman with a headset—there were so many women—announced that the sound bath was about to begin. Guests drifted to the DJ booth, which had been set with crystal singing bowls, and lay flat on the floor in neat lines in their matching yoga sets. The woman with the headset was our healer. The vibe was cheugy Heaven’s Gate.

The healer started by announcing her Instagram handle. She told everyone to breathe. I filled my lungs with air. I sighed as instructed. A thing about scamming: either you get away with it because you’re clever, or you get away with it because no one cares. Because you don’t matter. There’s an aching, godless loneliness in that.

“Imagine you’re a star amongst the cosmos,” the sound bath healer said. It’s so easy to lose respect for that which gives itself freely. I stepped up to an available mirror and took a selfie.


What’s the point of an odyssey? To go home. I walked out of the pool party and into the courtyard. I couldn’t get to the valet: a black trailer of porta potties blocked my path, backing slowly into the narrow driveway. A security guard waved me out of the way, onto the stage, where I stood elevated in the shadow of the giant letters and watched public relations girls guide the toilet truck, fanning it with their hands.

It was getting cold. A few drunk guests heckled the public relations girls. They were anxious about the photo ops, the aura readings, the yoga mats. When would the bathrooms be open? And the gifting suite?

“Soon,” the girls soothed them. “You’ll get yours soon.”


Exclusive Cover Reveal of “Gaza: The Story of a Genocide” Edited by Fatima Bhutto and Sonia Faleiro

Electric Literature is pleased to reveal the cover of Gaza: The Story of a Genocide edited by Fatima Bhutto and Sonia Faleiro, which will be published on October 7, 2025 by Verso Books. You can pre-order your copy here.

The story of genocide belongs first to its survivors. Only they can truly bear witness to its unspeakable truths—the terror, the insecurity, the indignity, the endless grief. In this urgent and powerful collection, Ahmed Alnaouq recounts the devastating loss of twenty-one family members. Noor Alyacoubi offers a searing account of starvation in Gaza. Mariam Barghouti examines the brutality of Israeli settler violence in the West Bank, while Lina Mounzer reports on the aftermath of Israel’s simultaneous bombing of Lebanon. Their testimonies, along with those of many others, illuminate the enduring psychological and physical toll of state violence.

Gaza: The Story of a Genocide brings together personal testimony, expert analysis, poetry, photography, and frontline reportage to document the full scope of destruction inflicted on the indigenous Palestinian people—their lives, their land, and their future. This landmark volume features contributions from recipients of the Palestine Book Award, Arab American Book Award, Pulitzer Prize, Emmy Award, National Book Award, and Gandhi Peace Award. With illustrations by Joe Sacco and Mona Chalabi, it includes the work of the late poet Hiba Abu Nada, who was killed by an Israeli airstrike on her home in Khan Younis, Gaza, on October 20, 2023.

Other contributors include Mosab Abu Toha, susan abulhawa, Laila Al-Arian, Tareq Baconi, Eman Basher, Omar Barghouti, Yara Eid, Huda J. Fakhreddine, Dr. Tanya Haj-Hassan, Yara Hawari, Maryam Iqbal, Nina Lakhani, Ahmed Masoud, Lina Mounzer, Malaka Shwaikh, Shareef Sarhan, and Mary Turfah.


Here is the cover, designed by Chantal Jahchan:

Fatima Bhutto and Sonia Faleiro: All royalties from this book are being donated to the United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA).

UNRWA has long been a lifeline for two million refugees in Gaza, delivering food, shelter, healthcare, and education in the face of unimaginable devastation. Since October 2023, 269 of its staff members have been killed—the highest number of UN personnel ever lost in a conflict.

This collection of testimonies, essays, poetry, and illustrations is one part of a larger effort. In 2024, moved by the scale of suffering in Gaza, we launched a fundraising campaign for children who had lost limbs in Israel’s assault—children who now form the largest cohort of amputees in modern history. According to UNICEF, more than 1,000 children in Gaza lost limbs in just two months compared to thirty in Ukraine after nearly two years of war. Doctors have described how these children were not only maimed but deliberately targeted—many shot in the head by snipers. The number of children killed in Gaza exceeds those in any recent war: Ukraine, Syria, Iraq, or Afghanistan.

That same year, we launched #BooksforGaza, a fundraising initiative with agent Julia Churchill that brought together writers, editors, and publishers around the world. Together, we raised over $85,000 for the Ghassan Abu Sittah Children’s Fund, which enables injured children to receive reconstructive surgery outside Gaza. But the need only grows.

Amnesty International has described Israel’s campaign as “genocidal,” citing three simultaneous patterns of destruction: the decimation of vital infrastructure, mass forced displacement in unsafe conditions, and the blocking of life-saving aid. This book stands as a record of the human toll.

It is also a collective act of remembrance. In bearing witness to the deaths of children and parents, to the obliteration of homes, land, animals, classrooms, and the environment, we hope to capture the full scale of what was lost and what must be remembered. The cover, by Chantal Jahchan, depicts life in Gaza before the genocide—what existed, what was cherished, and what has now been destroyed. We asked that our names not appear on the cover so as not to distract from the title, which we believe demands unflinching attention. The word genocide needs to be said out loud.

Some of our contributors are writing from within Gaza, even under bombardment. Others bring global solidarity, urgency, and clarity. They include 2025 Pulitzer Prize winner Mosab Abu Toha, Palestine Book Award winner susan abulhawa, Gandhi Peace Award winner Omar Barghouti, and Emmy Award winner Laila Al-Arian. With illustrations by Joe Sacco and Mona Chalabi, the book also features the work of the late poet Hiba Abu Nada, who was killed by an Israeli airstrike on her home in Khan Younis, Gaza, on October 20, 2023.

These are voices that speak to grief, resistance, history, and hope. We hope this book inspires not only remembrance but action.

Chantal Jahchan: This book is a collection of poems, war reportage, and personal testimonies by a powerful roster of Palestinian writers reflecting on their fight for survival. Representing this with a single image felt reductive.

Instead, I looked through archival material and gathered a handful of Palestinian motifs that together could represent a fuller picture of the human experience in Gaza. These included watermelon, the cypress tree, birds, and the keffiyeh—a symbol of resilience in itself—which contains a fishnet and olive leaves, signifying a connection to the sea and the land.

I recreated these motifs in the style of tatreez, the centuries-old Palestinian technique of embroidery, unifying them visually and tying them directly to Gaza through regional distinctions in the patterns.

I Am Multiplying to Cope With Life’s Duplicity

This Week

I am so sorry it took so long to get back to you, this week has been crazy. You would hardly believe this week even if I told you all about it. I will try anyway.

First, on Monday, BOTH the kids were sick. I took the two of them to the pediatrician (like a good mother and a good citizen). The three of us had been waiting in the exam room for some time when the doctor finally came in, looked me dead in the eyes, and told me, “Mrs. Whatsherface, I can see your first problem right here. This is only one child.”

“One child?!” I bellowed this. “This is surely more than one child. Just look at them!”

But when I looked down, he was right enough. Just one kid. A boy, with coarse, wavy brown hair and minnow scale blue-gray eyes. I left the pediatrician’s office with amoxicillin (for the child’s strep) and a head full of questions like:

When had my children merged?

Why hadn’t I noticed?

Why do they make amoxicillin bubblegum flavored, the one candy-thing we teach them not to swallow?

I asked the child walking slowly behind me, “Boy, are you one or two?” He laughed and replied, “I’m four, mommy,” even though I think he knew damn well what I meant.

On the way home, I bought him just one popsicle even though he begged for two. “Nice try, I’m on to you, kid. One popsicle from now on.”

So. That was Monday.

Tuesday I shouldn’t even get into, because I barely got out of it.

But on Tuesday, I learned that my dearest, darlingest husband had parked the car in a spot that was set to be cleaned. When a parking spot is scheduled to be cleaned, you MUST not be parked in that spot or else the street cleaning machine cannot clean that spot. I was supposed to be teaching a class and my husband was scheduled for his bi-weekly bowel cleansing wherein a doctor in midtown gives him twilight sleep, sticks a long, long pipe cleaner down his throat and wipes every tube clean.

We left the car and it was moved by someone else and we’re still trying to figure out who.

Was it you? Thank you, if so, and also where is our car? Wednesday I forgot to eat and fell down two stairs.

On Thursday I wrote a letter to The City about the two stairs:

“TO WHOM IT WILL PROBABLY NOT CONCERN:

Hello, why are there two stairs floating in the middle of nowhere? And why do they only go up? If The City deems it fit to build two stairs in the middle of nowhere, then surely The City (in its infinite wisdom), can see the logic in also building two companion stairs going DOWN as well?”

(My letter started like this, genteel and civic-minded. Then it became increasingly hostile.)

“Surely, THE CITY, you dweebish hodgepodge of crazy-rich oligarchs, you feeble second sons and nitwits, surely you can see the pathological nature of building two stairs which only lead up. You leave me NO CHOICE but to fall down the other side. You are mortals, not gods, and you should be punished as such (summarily executed).

Best (but not really),

A Citizen

P.S. The streets are motherfucking dirty, where is my missing car?”

On Friday I received word, via text, that, though my letter was received and the points well-taken, death threats against public officials were unwelcome in New York City. I texted back “UNSUBSCRIBE” and that seemed to settle the matter.

I then remember that my little, only-one-of-them child needed to be picked up from school. When I arrived he was waiting on a swing.

“You’re the same child from Monday,” I asked as I approached.

“I’m not,” he said with a small sniff. Such a little sniff, like the wing bone of a bird or the thumb of a fairy. “I am your second child, the one you forgot.”

“I haven’t forgotten any of my children,” I told him. “And I have thousands. Just not all here at the same time.”

“No,” he said, “you just have the one.”

I threw my head back to try and catch snowflakes on my tongue but it rarely snows in April so I shut my trap. The school’s yard was right under the flight path to JFK. I watched a plane sail over me. Probably flying to St. Barth’s or Ib-ITH-ah or some other sexy place I’d never been and would never go as a hot person, not now. My son swung lightly back and forth. The chains squeaked.

“You’re right,” I agreed. “I only have one child. You are my son, my only son, the only child I have or ever will have. You look and sound just like me, so sometimes I forget you are you and there is only one of you.”

I took him to the popsicle store and bought a box of popsicles and let him eat the whole thing on the white couch. Now my couch is tie-dyed and smells like Blue Raspberries, a thing that does not exist. My husband was upset about the popsicles and the couch but when I told him about how I only have one son, forever, I think he understood. I think he snuck a popsicle. He is, after all, a son too.

Which brings me to your email. All of the times you proposed for meeting are fine, I can make all of them work.

There are thousands upon thousands of me and I will make sure that one of them shows up for you. Just tell me when.

“The Payback” Highlights the Absurdity and Trauma of Massive Student Debt

At the time of this writing, my student loan debt from law school sits well above six figures. As distressing as it can sometimes feel, my situation is far from uncommon. More than 43 million Americans collectively own $1.7 trillion in student loan debt. Currently, 5.3 million borrowers are in default, and about 63 percent of borrowers have experienced difficulty making their student loan payments at some point. 

In this context, The Payback doesn’t just feel timely—it feels urgent. The novel follows  Jada Williams, a former Hollywood stylist now working a minimum-wage job at a mall. Like many Americans, Jada has a mountain of student debt, and she faces a relentless pursuit by the so-called Debt Police to pay them back. After being fired from her job at the mall, Jada and two other debt-ridden coworkers join forces to take down the system that failed them. Together, they scheme to erase their loans and exact revenge on the institutions that trapped them. The Payback is more than a revenge fantasy—it’s a deeply felt meditation on the crushing weight of debt, the absurdities of capitalism, and the radical potential of solidarity.

I spoke with Cauley about absurdism, retail work, and the importance of collective action. 


Marisa Wright: In your debut novel, The Survivalists, your main character, Aretha, is burdened by significant student loan debt from law school, and debt of course plays a central role in The Payback. As a lawyer with substantial student loans myself, I can certainly relate—but I’m curious: What draws you to explore student loan debt in your work? Why is it a theme you return to?

Kashana Cauley: When I was in law school, I hung out with the not-rich kids—the kids who also had debt—and we would talk about it all the time. We were taking out an amount in debt that was shaping our career. An amount that was deciding what we would do in the future and how much money we wanted to make. I know a ton of people who came into law school with one set of goals and then got those loan numbers back and changed to a second set of goals. 

This was at Columbia, and New York is expensive, so we were all looking at maybe $250,000 in loans when we graduated if we didn’t have any sort of financial aid. I also graduated at a weird time, a couple of years before the 2008 financial crash. Being from a generation of people who were encouraged to take out money for loans to get an education and prove themselves and then were thrown into an economy where the ability to pay it off was not guaranteed at all, that was traumatic. It was traumatic to me and traumatic to all those friends I’m talking about. And I’ve never gotten over that at some level. 

We were all looking at maybe $250,000 in loans when we graduated.

MW: This novel balances absurdity and humor with heavier topics like death and overwhelming debt, and in a previous interview, you said, “I consider the modern American experiment…to be absurdist.” Given that we’re already living in absurd times (can’t disagree with you there!), what does dialing up that absurdity even further allow you to do that realism does not? 

KC: Yes, student loans are a serious topic, but to be honest, they’re also absurd. Somebody just makes up a number somewhere, and then they saddle you with it, and then that’s 30 years of your life. Absurdism is just another way to tell the story. There are serious people out there, but I like punch lines. I feel that sometimes people listen to me more when I’m funny,  and I appreciate that. I think this would be a much different, much sadder, possibly harder book to read if everybody was just sitting there depressed about the amounts of their loans. Sometimes when you’re laughing, you pay more attention. And so I guess I would like to trick people. 

MW: Relatedly, one of the more absurdist elements in this book is the debt police—an organization whose violence feels disturbingly real, especially against Black women, as you write about, yet they’re also oddly obsessed with horoscopes and crystals. What inspired that combination? 

KC: I will probably always be inspired by the fact that I grew up in an anti-vax household. My brother is autistic, and my mom and her friends all got together to read and pass back and forth “scientific” papers with some absolutely insane alternative treatments. I’m so glad none of them actually used them on their children, but I wanted to write about it. 

MW: That’s interesting, you’re sort of bringing both of those threads in American life together. 

KC: Yeah, some of that is the failure of our healthcare system. I’m not saying I agree with these folks, but I’m saying when you go to the doctor, and you’re not taken seriously, you go to the internet, and the internet will cough up any number of solutions. We could produce a healthier country by encouraging doctors and nurses to really listen to folks, to talk to them about medicine, and to spend time with people’s questions. 

Student loans are a serious topic, but to be honest, they’re also absurd.

MW: Absolutely. On another note, I find that some of the most successful novels ground their characters in very specific jobs that shape the narrative in meaningful ways. Here, your main characters work in retail, and you capture that environment with specificity and careful attention. You’ve previously discussed working at J.C. Penney—why did you choose that setting, and how would you describe retail work informing the characters’ ultimate paths in the story? 

KC: Working in retail is quite common but also underexplored in novels. Adele Waldman had a big box retail novel last year, [Help Wanted], but it’s just not that common. I worked at J.C. Penney for six years, and it was an odd time for me. I was attempting to use that money to fund my college expenses that weren’t covered, so it was a real love-hate thing. I loved the girls I worked with. We were in the trenches together. It was terrible, but we were together. We dealt with all the quiet indignities of working at retail wages together. We were each other’s support systems, and so I knew I wanted to write from that emotional core. What if all these girls who work in retail get along? And what if they find their way to a friendship? How close could they get? What would they be willing to do for each other? 

MW: There are moments where the narrative subtly educates readers about the realities of student loan debt—for instance, highlighting how Black women carry the highest debt burdens with fewer resources to repay them, and how universities contribute to pressuring students into taking on debt. How intentional was it for you to include these insights, and how do you see the role of fiction in challenging these systemic injustices?

KC: That actually sort of relates to your last question because one of the things I talked about with my retail girls was money. We all talked about how much we were making and how much we made in commission. We all talked about how expensive college was or wasn’t. The conversations in the book are actually fairly realistic extrapolations of what those sorts of financial conversations, as well as the ones I had with my law school classmates, were like. 

I think there are a lot of spaces in American life where money is discussed quite openly and straightforwardly. It’s the rich who don’t love talking about money openly. In one sense, I think it comes across as educating the reader, but I think in another sense, it’s faithful to the way that the working class discusses money, which is upfront, in great detail, and with helpful advice. 

MW: The heist to erase all student loan debt at the center of this book is a sort of fun, slightly preposterous thing to imagine. At the same time, there appears to be something deeper at play with the idea of collective action or mutual aid. Beyond the humor and spectacle, did you have ideas about the power—or even necessity—of collective action on your mind as you were writing this book? 

We dealt with all the quiet indignities of working at retail wages together.

KC: For a long time, I have been studying efforts to attempt to address medical debt and student debt. Most of what’s happening is on the collective side. Right now, the Debt Collective, who buy up and forgive people’s debt, comes to mind. To me, the real movement on these problems has been in collective action, and I wanted to honor that by having the book come from that perspective. 

To Joe Biden’s credit, he attempted to address student debt and cancel certain borrowers’ student debts over and over again, but he got rebuffed by the courts over and over again. It’s hard to get things through Congress. It’s actually easier to help ourselves. We shouldn’t have to do all this for each other, but we know what we need. We listen to each other more so than Congress. 

The Black community has a very long tradition of taking care of ourselves. It’s always been collective action with us—from helping each other get out of slavery and escape lynchings in the South to all the Civil Rights things people read about in textbooks or hear about every February.

We talk, and we help each other out. People in Montgomery just wanted to be able to ride the bus and sit in the same place as everybody else, so they got together with a group of friends and did that. The book is an honor and a tribute to those sorts of collective action traditions that are uniquely American.