7 Novels About Women Getting Revenge

At the ages four and three, my sons are learning about retaliation. One steals the coveted fire engine from the other and soon someone has been smacked. Quickly it becomes about more than the fire engine: it becomes about power. Who can keep the fire engine the longest? Who can come out on top after a brief skirmish between two bodies, each not yet tall enough to reach the kitchen sink? 

Play nicely, I tell them, and it feels like asking a lion not to eat the antelope it just killed. Their passions and fears roil just beneath the surface, always ready to erupt. I try to teach them about managing their emotions, but sometimes it feels like I’m just imposing civility on them. 

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While in parenting I tell my children to be peaceful and avoid power plays, I seek out stories of revenge in literature. In my debut novel, After The Flood, the protagonist has experienced violation and betrayal, and vengeance brews under the surface of her other motivations, a steady fire she can neither resist nor extinguish.  

Revenge literature revolves around obsession and how we cling to those who have wronged us, even when it may be better to push them away. It doesn’t shy away from how much hurt can become a hallowed memory, something we return to for reasons we can’t fully name. These stories are also inherently moral—they mine the limits of vigilante justice and question if it’s strength or weakness that makes us want to strike back. But beyond all that, these stories are primal and entertaining in the way tales around the campfire can be. 

I’ve loved revenge novels like Moby Dick and the Revenant, but revenge stories with a woman playing a pivotal role capture my imagination more. Perhaps it’s because a woman taking power through violence is a story I haven’t heard as often. This rebuttal to the nurturing, self-sacrificial depiction of women feels like the other side of the story, a side of the story that acknowledges not just a woman’s complexity, but her humanity. 

Here are seven novels that feature women and revenge—stretching from ancient Greek mythology to the American frontier.

Gunnar's Daughter by Sigrid Undset

Gunnar’s Daughter by Sigrid Undset

Written around the turn of the 20th century, Gunnar’s Daughter takes place several centuries before, at the beginning of the 11th century. Undset is a master of historical Scandinavian literature (for which she won a Nobel prize) and this novel is one of her slimmest: a taut book paced like a thriller, but written with the cadences of Icelandic sagas. It features Vigdis, a young woman who is raped by the man she wanted to love, leading her to embark on several vengeful missions that ultimately threaten to steal her own happiness. 

Carrie by Stephen King

Carrie by Stephen King

Where would horror literature be without this classic? Carrie is a target of bullying and ridicule at her local school. She is humiliated and taunted when she menstruates for the first time and afterward, she discovers she has telekinetic powers. Throughout the novel, Carrie experiences hurt upon hurt, both from classmates and her own mother, culminating in a bloody act of revenge in the climatic scene. 

Hag-Seed by Margaret Atwood

Hag-Seed by Margaret Atwood 

Atwood adapts Shakespeare’s The Tempest in this novel that follows Felix, a director seeking revenge after being fired and exiled from the theatrical elite. Felix speaks with his daughter’s ghost and obsesses over the ex-friend who betrayed him and brought about his downfall. When he begins to teach in a prison, he embarks on a plot to avenge himself against those who wronged him. While this novel doesn’t feature a female protagonist, the Miranda/Ariel character (Felix’s daughter) plays an active role in showing how Felix’s desire for revenge may be a literal prison. 

Wuthering Heights by Emily Bronte

Wuthering Heights by Emily Bronte

This classic novel examines the doomed love story of Catherine and Heathcliff, beginning when they were children and ending decades later with the story of their children. After Heathcliff is treated unfairly by Catherine’s brother, he harbors lifelong resentment, anger, and jealousy that brings havoc and ruin to both families. Catherine is both the recipient of Heathcliff’s hate and love and her responses to him further complicate this story that touches on vengeance, wealth, love, and power. 

Image result for circe madeline miller cover

Circe by Madeleine Miller

Another retelling on this list, Miller’s Circe reimagines the Greek goddess and witch in this epic story that covers centuries. Daughter of Helios, Circe has the ability to turn humans who offend her or threaten her into animals. While Miller’s novel does not focus exclusively on Circe’s vengeful magic, it does plumb the motivations and emotional wounds behind Circe’s darker magical acts. The novel humanizes this ancient character, all the while keeping her powerful, nonhuman abilities intact. 

The Girl with the Dragon Tattoo by Stieg Larsson

The Girl with the Dragon Tattoo by Stieg Larsson

This novel helped start the Scandinavian crime fiction trend for good reason. Lisbeth Salander is a captivating heroine who helps solve a family’s murder mystery. In a revenge subplot, Lisbeth is assaulted. With some forethought, she fights for her independence, security, and a sense of justice. It’s a disturbing vengeance, featuring a tattoo gun and blackmail, but it doesn’t feel unfairly won. 

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True Grit by Charles Portis

This western novel is about a fourteen-year-old girl named Mattie Ross who embarks on a journey to avenge her father’s murder by the hands of a “coward going by the name of Tom Chaney.” Along the way, Mattie is joined by two sidekicks—a Marshal nicknamed “Rooster” and a Texas Ranger. Narrated by Mattie when she is an elderly spinster, she looks back on her adventurous quest, and reveals herself to be a woman of independence and fierce intelligence. 

The Seven Necessary Sins to Bring Down the Patriarchy

I first became acquainted with Egyptian American activist and author Mona Eltahawy’s work via Twitter, where she has a fabulously profane and informative presence. She pioneered hashtags like #MosqueMeToo and #IBeatMyAssaulter into movements, illustrating how women, people of color, and non-binary individuals are oppressed through misogyny, racism, and toxic masculinity. Born in Egypt and reared in England, Eltahawy’s family relocated to Saudi Arabia when she was 15, a move “which traumatized me into feminism,” she recently joked on the Global Crossroads podcast. She became a journalist, first reporting from Cairo and then worldwide, “until 9/11 rendered news reporting and so-called objectivity completely obsolete for me… My opinion writing became more front and center feminist and centered on the destruction of the patriarchy.

The Seven Necessary Sins for Women and Girls by Mona Eltahawy
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Eltahawy first addressed this in 2016’s Headscarves and Hymens: Why the Middle East Needs a Sexual Revolution, condemning patriarchal authoritarianism, the political, cultural, and religious repression that reduces women to second class citizens in the Arab world, connecting that to the oppression faced by women worldwide. In her latest book, The Seven Necessary Sins for Women and Girls, Eltahawy is out to destroy the social construct that privileges male dominance by illustrating the seven sins women and girls need to defy, disobey, and disrupt the patriarchy: anger, attention, profanity, ambition, power, violence, and lust. It’s a searing manifesto, illustrated with stories of global activists, like Uganda’s Stella Nyanzi who uses incivility to fight for women’s rights, or Islamic scholar Amina Wadud, who led Muslim prayers in New York City (a ritual traditionally reserved for men). The Seven Necessary Sins for Women and Girls is a must-read for any individual who seeks to resist.

Mona Eltahawy and I spoke by Skype. We discussed how the patriarchy is connected to the rise of authoritarian governments worldwide, why it is imperative that the patriarchy must be overthrown, and how silence protects no one.


DS: Can you describe what patriarchy is and why it needs to be smashed?

ME: Patriarchy is a system of oppression that works to privilege male dominance and work against the interests of anyone who is not a heterosexual and largely conservative man. I try to get people to imagine patriarchy is as an octopus, and the head of the octopus is patriarchy and each of the eight tentacles represent various forms of oppression. Patriarchy is the head, which exists globally and universally. It doesn’t matter if you’re in a theocratic state, an authoritarian state, or a democratic state, patriarchy is universal. 

What does differ are the tentacles that patriarchy uses to privilege male dominance and to work against the interests of mostly women, people of color, and non-binary people. Those tentacles can be capitalism, racism, homophobia, ableism, classism, a whole host of oppressions, but I want people to focus on the head, which is patriarchy. 

We must destroy patriarchy because it’s the last thing that we often talk about. We talk about the specifics of China or the U.S. but we forget that the backdrop of these specifics is patriarchy. That’s why I begin and end everything I do, every talk I give, with “Fuck the patriarchy,” because whether I’m speaking in Mumbai or Lahore or New York, patriarchy exists.

DS: Why is it important that this disruption happen globally and why now?

ME: Another concept that I talk about in my book is the trifecta of misogyny. I think that the Trump regime, and that is the word that we must use to describe what is happening in the US right now, is the perfect example of the trifecta of misogyny. It’s not just Trump. It’s decades and decades of patriarchy and racism and capitalism and misogyny and homophobia and ableism, etc., and it’s not just in the United States or Egypt or Saudi Arabia or anywhere else. It’s also what happens in the public space, which is what I call the street and in intimate spaces, which is what I call the home. The trifecta of misogyny connects the state, the street, and the home. At the center of that is patriarchy.

Focusing on patriarchy is a way to fight the Trump regime. 

When people want to compartmentalize things, they will say, “You know you talked about feminism but this Trump regime fucks everyone over. Or the Egyptian regime is that for everyone. Or the Saudi regime oppresses men and women.” Yes, it’s true, but the state, the street, and the home together oppress women and non-binary people specifically and they work together. By tackling patriarchy, by tackling that head of the octopus, we recognize where the most power lies. 

bell hooks says “Feminism is for everybody.” When you tackle social issues and social inequities, oppressions, and horrors through a feminist angle and through a feminist lens that focuses on patriarchy, then you are bound to focus on what she has long called for, which is a focus on the destruction of white supremacist capitalist patriarchy. Focusing on patriarchy is a way to fight the Trump regime. 

DS: How is the rise of patriarchy connected to the rise of authoritarian governments worldwide?

ME: Whether you look at China where the Communist party has been in power for 70 years, or Saudi Arabia, where an absolute hereditary monarchy has been around for decades, or the United Kingdom, where you have a constitutional monarchy even though they don’t have a constitution, or the United States where they have a two party system, regardless of the political system—they all have patriarchy that lives and breathes through every system at play in those places.

People are finally beginning to look at it, because they see Mohammad bin Salman, who is the de facto leader of Saudi Arabia, and they see how close he is to Trump and how close he is to Brexit and Boris Johnson, and they see in Egypt, my country of birth, the fascist leader Sisi, a military ruler, and they see how Steve Bannon, the chief strategist for Trump, who has been going around Europe setting up a fascist movements, and now you have Jair Bolsonaro in Brazil, who they call the Trump of the Tropics, and now you see Modi in India, who could be the Trump of India, and now you see Netanyahu, the Trump of Israel, who just banned the entry of two [American] elected officials at the urging of Donald Trump.

When you see all of that, you see this thread called patriarchy, that ties all these patriarchal authoritarians together. Regardless of whatever political system they claim, inherently it is what is at play now and is on the rise. People prefer to say fascism is on the rise, or racism is on the rise, or white nationalism is on the rise, but what is on the rise is patriarchal authoritarianism. In some countries we call it fascism, in some countries we call it white supremacy. It’s the most dangerous ideology on the rise today.

DS: Recently you wrote an essay about Representatives Rashida Tlaib and Ilhan Omar being banned from visiting Israel. What is the import  of this event? What is the message being sent to authoritarian governments?

Women are told that if you’re good and if you behave and that if you don’t talk about uncomfortable things, you’ll eventually get what you want.

ME: The message is that patriarchal authoritarians like Trump and Netanyahu know how to appeal to their base through racist, misogynist actions. This is essentially a racist and misogynistic act by Israel, a violation of freedom of speech and freedom of expression and the right of all of us to boycott. Essentially what Trump and Netanyahu were doing is punishing political rivals who have been outspoken in their opposition. And who are these rivals? They are women of color who have taken on a progressive political platform. They are the first two women who are elected Muslims in Congress, and one of them is the first Palestinian American. It is imperative that we recognize how these patriarchal authoritarians work together and signal each other about the ways they can oppress their political rivals.

You see these patriarchal authoritarians all around the world. Mohammad Bin Salman in Saudi Arabia imprisoning 17 women’s rights activists, and Trump has not said a word and is very happy to do business with MBS. The same thing with Sisi. You look at the global map and see how these patriarchal authoritarians are working together to punish outspoken women of color wherever we are.

DS: If you were going to tell people how to resist, what would you say? 

ME: You must look for whatever candidates you can support, because we’re coming up to an election year, and not just for president, one that is pivotal for the Senate and House. We have to pay attention to the Senate races that are coming up. We flipped the House in 2018; we must flip the Senate. We have to take what happened to these two representatives and use that as fuel fodder for going out there and finding progressive candidates. If we want to stand up to the fascism of Trump, if we want to reverse his fascist policies, be they the concentration camps on the border, women’s rights, LGBTQ rights. We have to fight this in races that are not just presidency. We have to start electing more leftist and progressive candidates in every race possible. 

DS: You started this work in the wake of a sexual assault. Can you discuss the context of this and other sexual assaults and how they are connected to sexual violence against women enacted worldwide?

ME: I got the idea in February of 2018, in the space of a week, when I started a movement called #MosqueMeToo, because I learned that a young Pakistani woman called Sabica Khan had been sexually assaulted in Mecca, the holiest site for Muslims, while she was on pilgrimage. Now I was sexually assaulted twice while I was performing pilgrimage in 1982 when I was fifteen. At first I couldn’t speak about it at all. When I did begin to speak about it, I was told “You’re going to make Muslims look bad. Don’t talk about this.” I talked about it on Egyptian television in Arabic. I wrote about it on social media and in my first book. 

Even if you’re a white woman who doesn’t associate with white supremacy, you still benefit from racism.

I started #MosqueMeToo for Muslim women to talk about their experiences but also to carve out a space for us in #MeToo. Because although Tarana Burkes launched #MeToo in 2006, #MeToo really took off globally in 2018 and became associated with very white, privileged women’s experiences, and I wanted women who were not white or privileged to have a space. Over five days it was really heartening to see many Muslim women and men share their experiences, but it was also disheartening to see Muslim men attacking us, saying, “Shut up! You’re making Muslims look bad.You’re too ugly to be assaulted, etc.” 

Five days of this and I decided to go dancing. That’s my self care. I’m dancing and I feel a hand on my ass, and I’m like, “You are fucking kidding! How is this happening? I’m supposed to be here letting it out!”

This time I did not cry. Freezing and crying are perfectly acceptable reactions. Freezing is how many women react to sexual assault, because that’s how we survive. But at this stage of my life I did not freeze because I had built up a resistance, years of learning to yell at men and hit back at men. I found the man who sexually assaulted me. I grabbed him from the back of his shirt. He stumbled. I sat on him and I just began to punch. Every time I wanted to stop punching him I was like “Nope, I’m not done. I was yelling at him, “Don’t you ever touch a woman like that again.” It was glorious.

This guy from club management asked what happened and he says to me, “Why didn’t you tell security?” 

This is patriarchy. Patriarchy essentially says patriarchy will protect you, as long as you behave of course, and patriarchy will protect you from the other branch of patriarchy that gives another man the right to assault you. So essentially my body is a proxy battlefield between patriarchy and patriarchy. If I behave the good patriarchy will protect me from the bad patriarchy. Fuck patriarchy. I don’t want protection. I will fucking beat you and glorify over it if you touch me without my consent.

DS: You say the most subversive thing a woman can do is to talk about her life as if it really mattered. Can you expound upon this?

ME: You’ll see a lot of women who will put a lot of emphasis on fighting everything but misogyny. They will fight racism, they will fight against capitalism, they will hide fight against a whole bunch of oppressions, and yet their own life is the last thing they’ll fight for. We’re told, “Oh, that’s just your personal experience. It doesn’t matter… Go away until you find a school of thought that tells me that your personal life does count.” My point in saying that the most important thing a woman can do is talk about her life as if it matters is because it does.

For those of us who are women of color, it’s about more than class. It’s about more than race. It’s about the octopus, and the best way to talk about the octopus is to talk about our lives. So when I say that the most subversive thing a woman can do is talk about her life as if it matters, it’s because it does. That goes to the heart of The Seven Necessary Sins for Women and Girls. We must embrace those sins and act those sins out in our day to day.

DS: You refer to Audre Lorde’s famous statement: “Your silence will not protect you.” How does this tie into that?

ME: We are socialized to be self-sacrificing. We are constantly told to wait. Waiting gets us nothing, because when you’re told to wait, as Martin Luther King Jr. says in Letter from a Birmingham Jail, basically it’s never going to happen. Half of society is told to wait. It’s a fucking disgrace. What are we going to wait for? If we focus on patriarchy first and foremost, everything falls into place. We’re told to focus on the individual tentacles of the octopus instead of focusing on the head of the octopus. 

Defy, disobey, and disrupt the patriarchy because silence will not protect you.

Women are told that if you’re good and if you behave and that if you don’t talk about these really uncomfortable things, you’ll eventually get what you want. It’s never going to come. You have to make an incredible insurmountable fuss about what’s going on in your life for people to pay attention. You’re going to be caught attention-seeking. You’re going to be called a whore. If not an outright whore, an attention whore. People are going to tell you you’re too ambitious, too power hungry, too too much everything. 

Audre Lorde wrote that essay while she was waiting to get a diagnosis of cancer which she eventually died from, and she said everything that I’ve been silent about has not protected me from illness, has not protected me from misogyny and patriarchy, has not protected me from sexism, from racism, from zero.  Why be silent? Because silence protects you from nothing.

The reason that women especially are socialized into being silent is because it disturbs the status quo, because patriarchy would much rather us go about and preserve male dominance and the promise it gives to male dominance, that it’s entitled to our bodies, our time, our love, our affection, etc. That ties into what I call feminism in 3D: defy, disobey, and disrupt. Silence is the antithesis of all that. Defy, disobey, and disrupt the patriarchy because silence will not protect you.

DS: In  your chapter on anger you call white women the foot soldiers of patriarchy. Can you explain this further and can you discuss what white women (like me) need to be doing right now?

ME: White women understand misogyny very well because it affects them by and large on a day-to-day level. I think they don’t understand that for those of us who are not white it is much more than just misogyny. When I talk about patriarchy being the head of the octopus, I always explain that the tentacles include racism, capitalism, homophobia. It’s what Kimberle Crenshaw terms intersectionality, and we recognize that these many oppressions work together to keep us underfoot. 

I think that white women are much more comfortable talking about misogyny. They’re not comfortable about talking about more than that because it takes them into these uncomfortable places that reminds them that the majority of white women voters voted for Trump, that in Europe more white women than white men voted for right-wing parties in several elections, reminding white women that they have a privilege that does not extend to those who are not white and that privilege comes about through proximity to the privilege that white manhood gives them.

So what happens is this very dangerous and toxic exchange by which many white women accept crumbs that are thrown to them by the white supremacist patriarchy, that promise (white women) privilege, power, and protection in return for allowing their racial concerns to trump gender. You’ll see that in the women who are evangelical who submit to the man being head of the family, who fight reproductive rights, who fight women being more overt in their feminism and politics, but you’ll also find it in women who are not white evangelicals, women who do not associate with white supremacy, and those are women who do not see the insidious ways white power gives them a privilege that I don’t have.

Even if you’re a white woman who doesn’t associate with white supremacy, you still benefit from it. Unless you’re being overly and actively anti-racist, you benefit from racism. I want white women to know that unless you’re being overtly anti-white supremacist/capitalist/patriarchy, you actually benefit from white supremacy. I want white women to be very cognizant of that and to actively fight it. 

My Lover, and Other Summer Relics

Pre-Loved Bodies

Strange how much we find later.
Inside a dying river,

Good visibility.
The loss of silence we fear. And this:
Relics from June: I count in this pastoral the carcass of an orange,
An antropolise with its miniature chateaux

& water lilies overgrown;
Frail forts sprouting in the wild around us.

Even now I think of you as gentle
with some other lover —

How much walks out of a person through doors?
How much leaves
Through windows, the swell of incandescence

*

Or smoke, inverse river moving with the tenderness
Of people pedaling farm bicycles late evening
Piled high with woods for home fires.
This procession, instead of gospel
Slow as I want it to be.

The air smells like a thing in search of home
I suppose you could think of it this way
Pre-loved bodies touched by rain breeze.

And to sit in sunlight tender at this angle
Passing through a tree — a way to make myself penetrable
By things falling from the sky flapping against gravity.


Saunas for Our Lifelong Displacements

Here, I am made human by silence,
rationed food and walking.
I stand by doors, afraid to approach mirrors.
Any closer, it’ll show the shape of
the years.
Each life we have lived re-imaged

In soot, spiders write their web histories
Across a silence so infinite it makes parliament
between birdsong, cricket,
A decade's forest with its animals.
And the dead (un)accounted for.

These days, I only think of people as mountains.
Not for praying on summits
where sun beaten rocks warm our feet,
Saunas for our lifelong displacements.
But for making slow ascents.

I am pacified by strange signs of gardening
Emergent along our roads. Some days, the begonias float
Vivid with each daydream.
Behind us, the moon's appearance is perfect, final.
As if we'd imagined each crescent phase.
As if this is the only shape we’ll ever know.

As if we’d want to joke about this.
And the black gothics of our nail polish.
And a colour like gun-mental. Said again and again

Because more than blood this poem too can be a love note
Said in the presence of our decaying.

What Sofa Would Your Writing Project Be If It Were a Sofa?

Beloved slipstream writer Kelly Link has been publicly wrestling with a novel on Twitter for a while now (sample tweet: “gonna travel back in time and stop the baby who grew up to invent novels”). Link definitely knows what she’s doing when it comes to short stories—she’s gotten a MacArthur fellowship and one of her collections was a finalist for the Pulitzer Prize—but a novel is a whole other kind of animal. Or maybe a whole other kind of furniture?

Yesterday Link posted a metaphor about the Novel Problem that evoked the bit in Dirk Gently’s Holistic Detective Agency where the couch gets inextricably wedged in a stairwell in a way that’s not possible according to physics:

https://twitter.com/haszombiesinit/status/1172163603237154816

As a coda, she encouraged followers to describe their own writing projects in terms of sofas. The result is a charming tour through the discount furniture showroom of writerly despair and hope.

https://twitter.com/dd_toronto/status/1172171899503284224
https://twitter.com/lyrakuhn/status/1172179936926298112
https://twitter.com/krmecom/status/1172170123777585157
https://twitter.com/adam_kranz/status/1172181415129169920
https://twitter.com/jeffreyalanlove/status/1172172302449963010

“I am truly excited about these descriptions and would sit on every one while I continue to work on my novel,” Link told Electric Lit. We couldn’t agree more, although it might be challenging getting up into that tree.

8 Books About Glamorous Messes

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

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

Social Creature by Tara Isabella Burton

Social Creature by Tara Isabella Burton

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

My Friend Anna

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

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

My Sister, the Serial Killer by Oyinkan Braithwaite

My Sister, the Serial Killer by Oyinkan Braithwaite

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

The Robber Bride by Margaret Atwood

The Robber Bride by Margaret Atwood

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

Bunny by Mona Awad

Bunny by Mona Awad

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

My Year of Rest and Relaxation by Ottessa Moshfegh

My Year of Rest and Relaxation by Ottessa Moshfegh

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

Image result for How To Murder Your Life

How to Murder Your Life by Cat Marnell

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

Sex and Rage by Eve Babitz

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

How Brexit Could Destroy the U.K. Publishing Industry

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Under the Udala Trees

Under the Udala Trees by Chinelo Okparanta

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

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

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

Patsy

Patsy by Nicole Dennis-Benn

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

Salvation Army by Abdellah Taïa, translated by Frank Stock

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

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

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

Lives of Great Men by Chike Frankie Edozien

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

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The Greatest Films: A Poem by Faizal Deen

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

The Hungry Ghosts

The Hungry Ghosts by Shyam Selvadurai

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

We Have Always Been Here

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

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

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98 Wounds by Justin Chin

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

Writing About Mental Illness from the Inside

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JB: Really?

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

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

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

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

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

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

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

JB: Not Iyanla level. 

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

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

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

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

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

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

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

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

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

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

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

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

Schrödinger’s Cat, But for Marriage

“Can a Cat”
by Olivia Parkes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Terrible things happened when people lived together telling different stories.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“What happened to that cat?” I asked. 

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

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

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

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

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

“I have to go,” I said.

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

MA: That’s part of it, too.

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

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

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

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

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

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

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

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

MA: Exactly. Very different parts of town.

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

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

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

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

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

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

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

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

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