Shitty Boyfriends of Western Literature: The Card Game

Illustrated by Matt Lubchansky

What do we think about when we think about boyfriends?

As a bookish young person, my first experience of romance had a lot in common with the first experiences of other bookish young people: it was heterosexual, not entirely healthy, and above all, fictional. How about yours?

In this game, you get to inhabit some of the most famous boyfriends of western literature, men like Cyrano, Mr. Darcy, and the Phantom of the Opera. Play-tested with the young women of the Viola Project, it’s a way for people of all ages and genders to take the concepts of romance we’ve inherited from the classics out for a no-risks test drive.


Welcome! You are one of the great boyfriends of literature! You’re definitely interested in love but for some reason, the course just doesn’t run smoothly for you. Hoping for better luck, you’ve signed up for this speed dating event for fictional characters.

There’s just one problem: no women. It’s a fictional sausage-fest in here! But as a group of heroic/wily/determined imaginary males, you’re not about to waste that registration fee. So, you all decide to take this opportunity to practice… with each other.

RULES

I. PREPARATION

  • Each player randomly selects one boyfriend card. (You get one free mulligan. If you are unfamiliar with your selected boyfriend, you can redraw.)
  • Set up the Chairs of Heteronormativity. These are two ordinary chairs–just clearly indicate which one is “male” and which one is “female.” (You can do this with a sign, or perhaps by putting a pink bow on the female chair).
  • Determine a run order. You can do this by rolling dice, drawing playing cards, or simply by volunteering.

II. PLAY

  • The first player will sit in the lady chair, the second will sit in the man chair.
  • When sitting in the lady chair, you are pretending to be a woman. Let me be clear–even if you are a woman, you are pretending to be your assigned boyfriend pretending to be a woman. So, if you are Zeus, you are Zeus’s idea of a woman.
  • If sitting in the man chair, you are your assigned boyfriend. Try to impress the lady. You have five minutes.

III. SCORE

  • Each player has two tokens (you can use quarters, poker chips, Girl Scout cookies–whatever you have lying around).
  • The lady token, or token lady (which does not have to look different from the other token in any way) should be given by each player to the boyfriend who attempted to woo them, if, and only if, that player thinks that their assigned boyfriend would think that a woman would have responded positively. Accurate scoring here will require nuanced hypothetical thinking and perhaps a comparative literature degree.
  • The other token, or token token, is to be given by each player to whoever they thought did a good job.
  • The winner will receive a round of applause, the right to choose the running order for the next game, and will be allowed to eat their tokens if possible. They will also receive an enlightened understanding of romance that will allow them to transcend any problematic messages about love they may have received from fiction at any point, entering into any new relationships from a place of equity and power, and finding that their current relationships have become loving, free, reasonable and revolutionary. 
  • Alternately, they may marry a man who is slightly evil but who has a very large house.

Notes on boyfriends

Our cards focus on western literature in the public domain. Please feel free to make your own boyfriend cards. If playing in an educational setting, you may find it useful to incorporate boyfriends from your reading list, or boyfriends selected by students from their favorite books.

Notes on long games and house rules

The basic play method is for shorter games in learning environments, allows each player to go once, and ensures an audience for each date. You may wish to play a different way so that the game has less of a performance element, and every player gets multiple turns. In this case, make the following alterations.

I. PREPARATION

  • Instead of setting up one man chair and on lady chair, set up a row of each.

II. PLAY

  • Sit down at random and play as before. Every five minutes, each player will stand and rotate one chair to their right. Optional: take a shot every time you switch chairs.

III. SCORE

  • Each player will have a pool of tokens, and a pool of lady tokens (or token ladies). In this case, the token ladies SHOULD look different from the other tokens. (You can try to find Susan B. Anthony dollars if you are feeling ambitious, or use Thin Mints and Samosa if you are feeling cheeky.) Each pool will have a quarter as many tokens as there are players. Players will give out their tokens whenever they feel that their opponent has won them over. Did I say opponent? That’s weird.
  • At the end of the game, the player with the most tokens and the player with the most lady tokens will have a Flirt-to-the-Death rematch, winner by popular acclaim.

Note on play style

Many of these characters speak in Elizabethan English, or languages other than English, or with particular accents. We encourage players to focus on character, logic and intent, and to avoid attempting any quirks of speech that might make themselves or other players uncomfortable. So if you can do a flawless cut-glass RP for Mr. Darcy, we won’t stop you, but don’t kill yourself speaking in iambic pentameter or make things weird with anything stereotypical.

YOUR FIVE-CARD STARTER PACK

Zeus boyfriend card
Holmes playing card
Erik (Phantom) playing card
Mr. Darcy playing card
Cyrano playing card

About the Illustrator

Matt Lubchansky is the Associate Editor of the Nib and a cartoonist and illustrator living in Queens, NY. Their work has appeared in New York Magazine, VICE, Eater, Mad Magazine, Gothamist, The Toast, The Hairpin, Brooklyn Magazine, and their long-running webcomic Please Listen to Me. They are the co-author of Dad Magazine (Quirk, 2016).

7 Novels That Take You Inside Truly Messed-Up Minds

Committing to write a novel with first-person narration is a bold choice for a writer. The scope, language, and tenor of the whole story must be in keeping with this one character’s life experience, education, and personality. The reader will be limited to the confines of a single person’s mind throughout the full course of the book, so this mind had better be an interesting place to be. That said, there’s great power in the first-person perspective. The reader is granted private access to the thoughts of another, their hidden desires, judgments, opinions, and plans. The experience of reading such a novel can be uniquely diverting, disturbing, and engrossing.

Buy the book

I chose first-person narration in order to capture the convoluted psychology of my troubled protagonist, Abby, in my novel The Paper Wasp. By allowing her to tell her own story, I empowered her to illustrate in full color her own jagged emotional landscape, the fierce drive of her artistic ambition and its dizzying alternation with self-doubt. The reader gains insight into her vacillating feelings of inferiority and superiority, and her complicated feelings for Elise, her childhood friend turned Hollywood actress.

Some of the most memorable and affecting works of fiction are told by outsiders like Abby, and by the whole gamut of desperate loners, eccentrics, misanthropes, and sociopaths. People we might never know—or want to know—in real life have guided us through their twisted mindscapes, acclimatized us to their weirdly elevated, alien vantage points, and cajoled us into the dark crevasses of their souls. It takes bravery to write such books and bravery to read them. They can be profoundly discomfiting. But a capable writer can play with this discomfort and transcend it. The best of these narrators may be off-putting or repellent, but they are also intelligent, sensitive, charismatic, even enchanting. More often than not, they’re fixated on personal ideals of beauty, love, or freedom. These are “enchanted hunters,” in a sense, enamored by a vision perceptible only to themselves. Following along, we begin to perceive the vision too. We may find ourselves in the position of confidante or accomplice. There’s a natural tendency to sympathize with a storyteller—any storyteller—and when we catch ourselves relating to our storyteller’s noxious or deviant thoughts, we’re forced to examine ourselves and confront our own dark complexities.

Lolita by Vladimir Nabokov

Lolita by Vladimir Nabokov

The Enchanted Hunters is the name of the hotel where Nabokov’s most indelible narrator, Humbert Humbert, stays with his pubescent captive, Lolita. No list of darkly captivating narrators can be complete without him: a wizard of words, intelligent, poetic, charming, sensitive. Humbert’s greatest seduction is that of the reader into his confidence as he squires Lolita across the country in literature’s most tragic road trip. As the ostensible author of the book’s introduction puts it, “…how magically his singing violin can conjure up a tendresse, a compassion for Lolita that makes us entranced with the book while abhorring its author!” Humbert is the enchanted hunter, spellbound by his quarry and by his vision of love and beauty—and in describing his hunt, he enchants the reader in turn.

What Was She Thinking?: Notes on a Scandal by Zoë Heller

Barbara Covett is one of the most entertaining misanthropes in literature. Through her diary, we’re treated to this elder schoolteacher’s private and unsparing observations of those around her, in a voice that’s trenchantly intelligent and caustically funny. We also bear witness to the blooming of her complicated, obsessive feelings for the new, free-spirited younger teacher, Sheba. As the two women become unlikely friends, and Sheba becomes embroiled in the titular scandal—an extramarital affair with an underage student—Barbara plays the mild-mannered, supportive confidante. But we readers know her real nature, which she keeps carefully hidden. We understand how deeply insecure, lonely, and dangerous she is as we watch the unfolding drama through her focused, unforgiving eyes.

The Secret History by Donna Tartt

This brilliantly immersive novel is often described as a “why-dunnit” rather than a “who-dunnit.” We learn from the first line that the narrator, Richard Papen, has been involved in the murder of a fellow college student. He introduces the story from a future in which he is free, but imprisoned by the memory of the incident. “I suppose at one time in my life I might have had any number of stories, but now there is no other. This is the only story I will ever be able to tell.” He guides us into the world of Hampden College, and we see how he’s drawn to a charismatic group of classics students. Although he feels alien from their privileged backgrounds, he attempts to gain entry to their insular coven of aesthetic worship, and gradually becomes part of the group. We feel the thrill of acceptance, the intoxication with youth and beauty and style, and the deepening dread of the climax we know is coming—and the destructive guilt that follows and haunts Richard for the rest of his life.

The Collector by John Fowles

A lonely outsider named Frederick begins this novel’s narration, detailing his observations of a young woman named Miranda in London. His stalking gives rise to fantasizing about abducting her and keeping her captive in a house in a remote village, where she’ll get to know him, and they’ll fall in love and marry. The fantasy then becomes a plan that he carefully prepares and enacts. The term of her captivity, including his attempts to win her love through force, is presented from his point of view for the first hundred pages—then we abruptly shift to Miranda’s perspective. Through the pages of her secret diary, we see the ordeal through her eyes and gain knowledge of her plan for escape. We learn of her own thwarted romantic relationships and artistic ambitions, and we grow attached to her and to the hope of her eventual liberation. Lastly, in a dizzying reversion, we are yanked back to Frederick’s point of view for the last part of the book, from which we witness the chilling conclusion—and find ourselves sinking deeper into the consciousness of a disturbed man and his tragically delusional attempts at love.

YOU by Caroline Kepnes

Joe Goldberg is a reader and a thinker, a sensitive and funny bookstore clerk in Manhattan, through whose engaging voice we receive colorful observations and achingly accurate social commentary. When Beck, the girl of his dreams, enters the bookstore, we root for him, even as we begin to doubt the ethics of his courting techniques, which include snooping on her social media accounts, stealing her phone, and peeping into her apartment window. We feel our discomfort grow as he provides damning criticisms of Beck’s friends, and we begin to worry about how he’ll react to their disapproval of him. After our fears are confirmed, our worry transfers to Beck, who lacks our access to the inner workings of Joe’s mind. We’re trapped inside the head of the psycho stalker, and it’s an alarmingly enjoyable place to be.

We Have Always Lived in the Castle by Shirley Jackson

The narrator of this Gothic classic is eighteen-year-old Merricat, who lives a quiet life in an old ramshackle estate in a small Vermont town with her beloved sister and infirm uncle, isolated from and hated by the townspeople. She hates them in return and wants nothing but to be left alone. She has no interest in expanding her life beyond the radius of her own property, where she burrows into the grass and follows superstitious protective rituals. Her narration is opaquely evasive, but gradually we begin to understand the nature of her character and of the events that led to the family’s ostracism—and we learn that our narrator is far from the innocent protector she’s painted herself to be. As she fights against the intrusion of an unwelcome cousin, she brings tragedy down upon the family once again, but in the process reinstates peace and harmony for herself and her sister, so that they may continue live apart from the world in their own sacred castle.

Eileen by Ottessa Moshfegh

Eileen by Ottessa Moshfegh

Our blunt narrator tells the story of a pivotal December in her life fifty years earlier. At that time, Eileen was a young woman trapped in her dreary hometown, living alone with her abusive alcoholic father and working at a youth correctional facility. Through her eyes, we bear witness to a disheveled, nihilistic world and as well as her violent and self-destructive fantasies. Her outlook is grim, sour, and angry. The unrelenting bitterness enters our own bones as we feel her mad hopelessness and want her to escape. She brings us to the basement of the house where the climactic event takes place, and we follow to the figurative basement of her psyche as we begin to understand the extreme measures she’s willing to take to save herself—and to disappear from this sad, cold town and her sad, cold life forever.

Plan Your Tony Award-Winning Musical With Our Handy Chart

A folk opera retelling of the myth of Orpheus and Eurydice got a whopping 14 nominations for this year’s Tony Awards, more than any other musical—but the hip-hop retelling of the life of Alexander Hamilton still holds the record. In other words, putting an unexpected genre on top of a work of history, literature, or folklore is guaranteed Tony gold. If you’re ready to get into the no-doubt-lucrative game of stage musicals, rejoice: we’ve got your plot and concept ready to go, and all you need to do is have a name.

Just find your first initial in column A, your middle initial in column B, and your last initial in column C, and plug the results into our musical-development format. If you’re Andrew Lloyd Webber, for instance—and really, who’s more in need of ideas—you would look up “A” in column A, “L” in column B, and “W” in column C, with the result “It’s an all-singing, all-dancing gender-bent retelling of Death in Venice that takes place in the Michigan Womyn’s Festival.” You’re welcome, Andrew, and don’t say we never did anything for you.

Click to enlarge

New and Classic Queer Literature to Read for Free Online

For pride month, we’re rounding up some of our favorite stories and novel excerpts by and about queer people from the Recommended Reading archives. These stories present a diverse cross-section of queer lives: an intersex woman who survived the bombing of Hiroshima, a black man in Nigeria who one day wakes up white, a man getting gender-confirmation surgery in Canada, a young girl in Brazil who learns, for the first time, a word that describes the way she feels. There are ends and beginnings of committed relationships, reliable and fraught friendships, painful affairs, and pleasant ones. Not all of the stories are about queer relationships or characters. One is about a hawk. The earliest work is from 1940, the most recent is from April 2019.

Recommended Reading is the weekly fiction magazine of Electric Literature, where we present short stories and novel excerpts every Wednesday, each with an original introduction. This list samples some of the most exciting new work in queer fiction, as well as forgotten classics. The recommendations, by writers including Chinelo Okparanta, Michael Cunningham, Alexander Chee, and Justin Torres, give space for peers to support one another and for the greats in that genre to support a new generation.

Together” by Jess Arndt

In “Together,” a story from Jess Arndt’s collection Large Animals, a couple contracts an unknown STD at the same time that large, monstrous weeds overrun their yard. As Justin Torres writes in his introduction to the story, it “is a story precisely about the churning going on beneath the surface — about the awful lot going on inside each of us. Arndt reminds us that physically, psychically, we are processes; we are happening all the time. The life of both mind and body is defined by an awesome and constant churning.”

Little Boy” by Marina Perezagua

“Little Boy,” named for the codename of the atomic bomb that was dropped on Hiroshima, tells the story of H., a intersex survivor of the explosion. In her introduction to the story, former Recommended Reading Senior Editor Lucie Shelly writes, “Drawing on the unexpected juxtaposition of WWII Japanese-American conflict and binary gender expectations, Perezagua explores the power of intangible indicators — feeling, legacy, and sensation — to uproot our logic, identities, and classifications.”

Alta’s Place” by Morgan Thomas

Cory grew up in DC, works in a dry cleaning business, and wants to work in fashion design someday. Alta grew up in Mongolia, married young, and is negotiating her request for asylum. While both identify as gay women, Recommended Reading editor-in-chief Halimah Marcus points out in her intro, that Cory is too quick to map their lives onto one another: “As gay women Alta and Cory have few experiences in common…When Cory came out to her family, her mother was pious and deflective. When Alta’s landlord in Sharyn Gol found her in bed with another woman, he kicked her out. For Alta, coming out was not a consideration. ‘Your mother didn’t ask if you were gay,’ she says to Cory. ‘No one asked you.’”

Pussy Hounds” by Sarah Gerard

“‘Pussy Hounds’ by Sarah Gerard is a story about four friends who take a trip to Maine for a self-imposed writing retreat. As it happens, not much writing gets done. One of them isn’t even a writer to begin with. They go for walks, watch movies, gossip over dinner. Their delicate social accord is threatened by a mysterious ‘back massage incident’ that occurred years-prior. Nina, the narrator, has recently escaped a toxic marriage. Filtered through her inner life, the story is also about making art, gender and sexual identity, self harm, and abuse. ‘Pussy Hounds’ is not, despite the title, a story about chasing pussy, though pussy does play a part.” —Halimah Marcus

Blackass by Igoni Barrett

“Despite its Lagosian setting, when reading the opening pages of Igoni Barrett’s witty, socially insightful novel, Blackass, I am reminded of Kafka’s The Metamorphosis: a young man wakes up to the realization that he is no longer who he once was, but has become a different kind of ‘being.’ In Barrett’s version, the young man goes to bed a black man and wakes up white. The family set-up is the same: the young man, his sister, his mother and father. A job on the line.” —Chinelo Okparanta

Hiddensee” by Michelle Hart

“Michelle Hart’s ‘Hiddensee’ is about a young woman’s affair with her college professor. Perhaps it’s worth noting the obvious: that this isn’t the story of a vulnerable girl and an older man. It’s the story of a girl and a woman, of a girl becoming a woman over time, and in moments, of a woman becoming a girl.” —Halimah Marcus

Two People by Donald Windham

Donald Windham’s novel about a Roman affair between two men is a classic to Brandon Taylor, Recommended Reading Senior Editor. He writes,“On its surface, Two People is a simple story. Forrest, a man unmoored in Rome by his wife’s sudden departure after a long period of dissatisfaction, takes up with a young Italian male prostitute. The writing is spare and lucid, with a kind of keen emotional intelligence that arrives with all the suddenness of a spring shower. Windham is a master of accumulating seemingly inconsequential details that crest into something true and deeply felt. There is great style in his pages, a quiet elegance. It’s easy to give yourself over to his storytelling.”

Flor” by Natalie Borges Poleso

Amora, the collection from which this piece is taken, contains narratives that remain mostly absent from Brazilian literature. Stories of women loving women, wanting women, having their hearts broken by women, getting into confusing amorous entanglements with women. There is a single definition for amora in the Portuguese dictionary: the fruit of a blackberry or mulberry bush. A berry in other words. But here, amora appears rather as the female form of amor, or love, in all its multiple manifestations.” —Julia Sanches

You Wouldn’t Have Known About Me” by Calvin Gimpelevich

This spare, lyrical story follows the narrator over a few days as he undergoes gender-confirmation surgery in a Canadian clinic. The story is attentive not only to all the ways a body is made and unmade, but also to discomfort and unease of shifting human relationships. It’s a taut story about bodies, healthcare, wealth, and the ways we look after ourselves and others.

Lot” by Bryan Washington

“The title story of Bryan Washington’s collection Lot is about one family’s negotiation with gentrification in Houston. The unnamed narrator, whose sister has married out and whose brother has gone to war, tries to keep the family restaurant alive, despite the memories that haunt him there. As Aja Gabel notes in her introduction to the story, “‘Lot’ is part of a constellation of connected stories that span this collection, a kind of epic in episodes. At this point in the narrator’s life, the explosive potential of change tremors under his surface, in both his body and mind. The consequences of acknowledging the slow cracks in his life are massive, but ‘Lot’ deals with those fissures with a high-wire combo of precision and tenderness.” —Aja Gabel

Sundays” by Emma Copley Eisenberg

“For a story that’s about sex six days a week, there’s something prayer-like, even Biblical, about Emma Copley Eisenberg’s “Sundays.” Jeffrey, a scientist, is Mondays and Thursdays, Lamya, a Muslim marine biologist, is Tuesdays and Wednesdays, and polyamorous Beth, who lives in North Carolina with her primary partner, is Fridays and Saturdays. Six days, three different people to love or desire.” —Halimah Marcus

The First Summer” by Matthew Griffin

For queer people, quite simple acts of intimacy and love (such as sleeping in a bed together or even casual physical affection) can carry heightened tension and fear. In his introduction to this excerpt from Matthew Griffin’s excellent debut novel, Stuart Nadler writes,It is exhausting to have to write that fiction like this should not feel as brave and important and transgressive as Matthew Griffin’s Hide feels, and that an honest, emotionally complicated, lushly beautiful depiction of two men who have spent their life together, and who are about to encounter death, should not feel so refreshing and so necessary. But the times, sadly, do not always dictate our literature. So, along comes a book like Hide — a first novel, a Southern novel, a novel about love and death and the terror of discovery — that does what all the best fiction seeks to do, which is that it shows its characters as humans.”

The Pilgrim Hawk by Glenway Wescott

Michael Cunningham calls The Pilgrim Hawk, originally published in 1940, an “invisible classic,” which hardly anyone had heard of when NYRB Classics reissued it in 2011. If The Pilgrim Hawk is an invisible classic, then Glenway Wescott is an overlooked legend—an openly gay man, born in 1901 in the midwest, who moved to Paris with his partner in the 1920s. In his introduction of The Pilgrim Hawk excerpted in Recommended Reading, Cunningham muses, “How did [Wescott] produce a book that encompasses fundamental human issues like domesticity’s capacity to be both life-saving and soul-destroying; the annihilating but animating powers of lust and jealousy; the secret war between social classes; and aging and mortality themselves, among many others?”

Hello Everybody” by AM Homes

With her many novels and short story collections including This Book Will Save Your Life, The End of Alice, May We Be Forgiven, and The Safety of Objects, AM Homes is one of the greatest writers working today. “Hello Everybody” was published in Recommended Reading in 2012 and was included in Homes’s 2018 collection Days of Awe. Like much of her work, this story examines capitalism’s effects on the family with her signature blend of satire and empathy. In her introduction, Halimah Marcus writes, “When you’re young, when your world is sheltered and your options for exploration limited, even a visit to a friend’s house becomes an anthropological expedition; each family, an as-yet unknown tribe. Here [that tribe is] the “pool people,” an L.A. family who lives for air-conditioning and calorie-counting, for whom a bathing suit is a uniform but who hate getting wet.”

Between Your Heart and the Fabric” by Mattilda Bernstein Sycamore

“In this excerpt [from the novel Sketchtasy], we find the protagonist Alexa reading a book, Rebecca Brown’s The Gifts of the Body, with a sometimes lover, Nate. As they read together, Alexa tells us, “I’m thinking about this shame we all carry, the shame that means we deserve to die.” Sketchstasy is a call to reject the norms dictated to us by those who would never care about us but insist on telling us how to live — or die — as a way of obtaining the approval that will never come. It’s also a call to reject even the imitation of those norms. As a writer, over three novels, a memoir and five anthologies, Sycamore is someone who has always wanted revolution more than acceptance, and dreams that maybe that could be the best party of all. And this novel is her grand masked ball.” —Alexander Chee

7 Weirdest Houses in Literature

My obsession with tiny houses began when I read about Dee Williams, who reassessed her life priorities after a medical emergency and built her own 84-square-foot home. She wanted to simplify, get rid of the clutter, focus on what really matters. This resonated with me, as someone who gets overwhelmed by all the stuff society tells me to want. I lingered on the question of what it would feel like to give up almost everything, and I kept thinking of that Janis Joplin lyric: Freedom is just another word for nothing left to lose.

I haven’t been brave enough to move into a tiny house myself. I have a husband, a toddler, 2 dogs, and 1.5 cats (1 cat just visits us for food occasionally; we have accepted his dislike of us). But, I did the next best thing by placing a character in a tiny house. This is one of the benefits of being a writer—telling your character, “You go first.”

In my novel Tiny, Nate and Annie Forester endure one of life’s cruelest tragedies when their 3-year-old daughter is hit by a car and killed. As time passes, Nate wants to move on and return to some version of normal, while Annie finds herself stuck in the quicksand of grief. Leaving a vague note for Nate, Annie disappears from her current life to live in a tiny house community, hoping that by containing herself in 100-square-feet, she can also contain her overwhelming sadness and find peace.

I love stories that involve characters in weird homes. I love the demands they make on my imagination. Here are some of my favorite books that feature unconventional homes that become characters in and of themselves.

The Light Between Oceans by M.L. Stedman

After fighting in WWI, Tom Sherbourne returns home and takes a job as the lighthouse keeper for Janus Rock, a small, desolate island off of Australia. He is alone on the island until he marries Isabel Graysmark, who comes to call the lighthouse home. Stedman writes:

“The isolation spins its mysterious cocoon, focusing the mind on one place, one time, one rhythm—the turning of the light.” It is in the midst of this isolation that Tom and Isabel endure misfortune and pain. You can almost feel the fog rolling in, right?

The Shining by Stephen King

The Overlook Hotel is fictional, but that doesn’t stop it from appearing in my nightmares every now and then. In the book, Jack Torrance, his wife, and his kids move into the isolated resort in the Colorado Rockies after Jack accepts the position as winter caretaker. There are way too many hallways and mysterious doors in this place, along with creepy apparitions and a general sense of doom.

Heroes of the Frontier by Dave Eggers

Heroes of the Frontier by Dave Eggers

After losing her dental practice, Josie decides to leave everything behind and take her kids to Alaska. Home becomes a rattling, old RV: “The manufacturers had called the vehicle the Chateau, but that was thirty years ago, and now it was broken-down and dangerous to its passengers and all who shared the highway with it.” It’s hard not to develop fondness for The Chateau as Josie and her kids drive through the state, encountering various adventures—and wildfires.

California by Edan Lepucki

In this post-apocalyptic story, Cal and Frida flee Los Angeles, one of many cities that has fallen to shambles, and make their home in a shack in the wilderness of Northern California. Cal is quite content with their new life, away from civilization, but when Frida discovers she’s pregnant, she wants to seek out the support of a community. When they leave for the settlement they’ve heard about, their marriage and their lives are forever changed.

My Abandonment by Peter Rock

Based on a true story, this book (that became the movie Leave No Trace) is about a 13-year-old girl and her father, living in a dug-out cave deep inside Forest Park, a 5,000-acre nature preserve in Portland, Oregon. Their existence is simple—they wash in a nearby creek, they store perishables at the water’s edge, they tend a garden, they keep a library of sorts. This simplicity is changed forever when a jogger discovers them.

All the Birds, Singing by Evie Wyld

All the Birds, Singing by Evie Wyld

Jake Whyte is living on her own in an old farmhouse on a creepy, isolated island off the coast of Britain. Amidst the rain and wind, her sole companions are her dog (named Dog) and the 50 sheep she tends. The eerie setting of this book evokes so much feeling—a true testament to beautiful writing.

Cruel Beautiful World by Caroline Leavitt

Sixteen-year-old Lucy Gold runs away with her high-school teacher, William Lallo, thinking he is offering her freedom from her boring, unsatisfying life. Lucy’s romantic idea of freedom contrasts with the rundown one-story brown clapboard house that William offers as their home. Lucy has her doubts when she sees the house, but when William asks her, “Can you be happy here?” she can’t help but say, “Of course I can be happy.” Spoiler alert: The claimed happiness doesn’t last.

The Haunting of Hill House by Shirley Jackson

The Haunting of Hill House by Shirley Jackson

I agree with the critics who call this one of the best literary ghost stories of the 20th century. Hill House is literature’s classic haunted mansion, and Jackson’s description of it gives me chills every time I read it:

“Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.”

Karen Russell’s Oddly Hopeful Stories of Ghosts, Dead Bodies, Devils, and Disasters

Snowflakes, I’ve recently learned, are all born the same—every ice crystal starts out with the same hexagonal structure. The reason they wind up as one-of-a-kind masterpieces is because no two flakes fall alike: they accumulate different arms and spikes according to the unique stream of humidity and temperature combinations encountered in the descent. In other words, our most-cited metaphorical paragons of uniqueness are shaped by their (sometimes traumatic) experiences.

Orange World and Other Stories by Karen Russell

Orange World, Karen Russell’s latest short story collection, is keenly attuned to the way that our environments buffet and hurt us into beauty. These are stories interested in how humans might bloom out of the experiences we have in different possible places and times, from the peaks of a haunted Oregonian mountain to the swampland of a post-collapse Florida. Whether it focuses on a woman infected by a tree spirit while her relationship fades, two best friends trapped in a lodge filled with ghosts while the edges of their faith in one another grow teeth, or a mother negotiating with the devil for her child’s safety, each story in Orange World is a novel lesson in paying attention to both the human landscape and the physical world.

Russell’s stories have never shied away from the reality of the fall. Her previous collections, St. Lucy’s Home for Girls Raised by Wolves, and Vampires in the Lemon Grove along with her novel Swamplandia! have each offered a master class in how the fantastic gives us permission to imagine our way into the truth. But what is special about Orange World is the way the collection demands that we interrogate our most fundamental desires—more humanity, more survival, more love, more safety, more time. In Orange World Karen Russell’s stories show us how we can imagine our way into a relationship with the truth that activates hope.

Karen Russell and I talked over the phone about craft, climate change, hope in negotiation, and the things we forget in order to survive.


Erin Bartnett: There’s so much I want to talk about, but I’m hesitant to start off any conversation with an author by saying “oh, your book, to me, is about ‘X.’” So instead I wanted to start off by asking you about what this collection is about for you. What’s different or new in this collection for you? What are the perennial questions that continue to drive you to write short stories?

Karen Russell: It is so funny that you mention that because I was just thinking I haven’t done a ton of interviews for this collection yet. You can get to a place, unfortunately, where it’s a little bit like stepping on the automated walkway, where you just sort of have your elevator pitch down. I think especially with fiction writers, the danger is that you end up coming up with these post-hoc confabulations about how these stories came to be and what you were doing, after the fact. You romanticize a bit. I’m always a little skeptical when fiction writers are describing their process because we are the world’s biggest liars. It’s what we choose to do for a living!

It’s exciting to feel a collection start to come together. All of the stories in this book came out of a five-year period where I went from bouncing around continents and states, just putting new university stickers on my car, to when I met my now-husband and moved to Portland, made a home here and had our son. And this metamorphosis—which I think sounds pretty banal in paraphrase but felt shocking to me, and still does—happened to overlap with these years of extreme national and global uncertainty. The low sky of anxiety we’ve all been living under.  [Orange World] feels to me like my most coherent collection, in part because all of the stories arose from this same bedrock.

What started to seem like a ligature to me was the way that these stories seemed to want to map a psychological or emotional terrain. And not in a neat, one-to-one overlay of an external and an internal landscape. More like a collision of an idiosyncratic personality and a new territory. Often the plots of these stories seemed to arise from a bad graft of a character’s original plan to an unforgiving landscape. A sort of honeymoon period would begin to shade into a darker reckoning with the true reality of the new terrain, and with a character’s private limitations. Over and over again, it seemed, a story wanted to arrow towards that moment when interior and exterior forces merge—the intersection between some unyielding reality and a character’s private world. “Orange World” seemed like the right way to conclude the collection—to me it felt like a very different kind of landscape story to try. I thought of its setting as the extreme topography of pregnancy and the early months of new parenthood. The surreal landscape that you enter after giving birth. Or that I did, anyway.

EB: I’m excited to hear you bring up that collision between “real landscapes,” and “interior worlds,” because one of the things I love about your writing—in this collection in particular, but in your writing, generally, too—is the way you marry history and your own imaginative dig into that history. That collision brings about a whole new truth. There were stories in this collection that, once I finished them, I went to the internet hoping some fragment of those worlds was “real.” It’s a special kind of enchantment.

KR: I remember an editor telling me once that it was fascinating to discover what the “urgent pleasure” was for each writer—what compelled them put language on paper. She said that this really was as individual as a fingerprint. I was such a weird kid and I needed books to be portals to another world. To just envelop me. It felt safe, inside a book, to know what I knew, if that makes sense. It felt safe to know things and to feel things that would have overwhelmed me in ordinary time, I think. That was my chief pleasure as a reader and that’s what I was drawn to attempt to do as a writer, too.

Stories feel special to me because each can become a kind of universe-in-miniature.

Stories feel special to me because each can become a kind of universe-in-miniature. (As a kid I loved snow globes and museum dioramas, maybe for this same reason.) I thank you for that echo-back because I also think stories can haunt you in a very particular way. Their velocity and their compactness—I always have the sense, too, with my favorite stories, that the world of the story is still spinning somewhere, long after I finish the last page. Because of a story’s brevity, you can almost hold it in the palm of your hand, you can walk around its periphery. It stays with you in a different way, I think, than a novel. Even my very favorite novels, sometimes a few months out, I feel a little gluey on the details. The plot, or characters’ names—I mean basic facts. But a story can work on you almost like a poem. You read it in one sustained burst and it has a different kind of integrity inside you.

EB: So how do you do it? Where does the research “start” for you in a story, and when do you feel liberated from or intimate enough with the “facts” to write into the “truth” of the event? How do you know when to dip out? I always get stuck in that “research” phase.

KR: I also think that research is my favorite method of procrastinating. And the internet—I mean there are pros and cons to the Google search engine because you lose a lot of time. I also think it can become a little bit of a crutch, I find sometimes. You do want to be able to imagine a place out of your own raw material at some point.  

I guess for me, the research sometimes begins with real contact with a place, physically moving through it. Most of the locations in this collection are based on places that I visited. When I first moved to Oregon, I visited the Timberline Lodge and saw a ski lift, frozen in July, mobbed with dragonflies, and found it totally uncanny, and that was the kernel for “The Prospectors.” I went on a road trip with my husband to Joshua Tree and that landscape seduced me completely, and terrified me too—I had never been to the desert before. So I often had done a little exploring in these locations that inspired the stories in Orange World, but unlike Swamplandia!, these landscapes were foreign to me; a lot of my earlier work is set in a sort of mythical version of my own childhood backyard. So then I needed to do some supplemental research, and this ranged from re-reading Seamus Heaney’s bog poems to WPA diaries set during the time of Timberline’s construction to a scientific paper on the interdependency of the yucca moth and the Joshua tree.

For “The Tornado Auction,” I was inspired by this incredible photograph taken by Andrew Moore, and by his book Dirt Meridian. We have an enormous print of it hanging in our house—for a long time it was our only framed art.

EB: It’s exciting to hear you talk about the changes you notice in your own writing. Can you talk a little bit more about how your voice and style has developed over the course of your career?

KR: I can definitely try—although I suspect I am the least reliable narrator where my own work and its evolution is considered. In my earlier work, the focus is often on children and adolescents; many of them were told from the first person. In this collection, I found myself writing about couples falling in and out of love, adult friendships, adult siblings, mothers and fathers. “Orange World” felt like a very different kind of story to attempt, with an older narrator whose experience overlapped with the story I was living. “Bog Girl,” also, felt like a new challenge. Its narrator has a kind of floating, wry detachment from the human drama that unfolds; at certain points I felt like I was trying to conjure the ancient bog itself. “The Bad Graft” switches perspectives and features an omniscient narrator inspired by the old storytelling authority of Ovid and Shirley Hazzard.

And I felt more deliberate in some ways, in my approach to these stories. More aware of wanting to build a certain kind of architecture, particularly in revision. There’s a sort of metaphysical pivot that occurs in stories like “The Prospectors” and “The Bog Girl” and “The Gondoliers,” where the protagonists slide or float into a different kind of story entirely, and I spent a long time trying to tune up those moments of transition, to make sure they felt surprising but hopefully also inevitable somehow.  

You know, I do often feel like, for better or worse, “style” can be another word for “capitulation.” An acceptance of, or giving over to, one’s natural, inborn rhythms. The strange syntax of your particular mind. It’s funny, I’ll read my brother’s stuff—Kent Russell, he’s also a writer, my favorite essayist and journalist, and we’re very different writers in many ways—but I swear, every so often, we write the same damn sentence. I’ll hear the rhythms of our family inside his essay, not unlike the way I sometimes hear my mother’s intonations in my own voice, in real life. Often I’ll hear our dad in our descriptions—our dad shaped our sense of humor, and his voice was probably our ur-influence.  So it makes me wonder sometimes how much of what we call style is within one’s conscious control.

I do feel that I’ve developed quite a bit in this new collection. I felt more in control over my narrative effects, and more vulnerable in some ways too—it felt particularly scary to me to write “Orange World” and “The Bad Graft.” This time around, I also felt that I had more of a sense of the collection as a whole, how this archipelago of stories might work together. In the past, I think I have sometimes felt like a better sentence-writer than a storyteller. With Orange World, I can honestly say that I’m proud of the overall shape of these stories, and of the book. Each one felt quite distinct to me, a fresh challenge. But in revision, I was also conscious of trying to build connections across stories—the Tornado Auction and Black Corfu, for example, I think share some overlap in their portraiture of thwarted fathers and creators.   

It’s humbling to discover your pitfalls as a writer.

It’s humbling to discover your pitfalls as a writer. When I was a younger writer, I was such a metaphor fiend that I think I often tipped into excess of one kind or another.  I love figurative language still, and I have to be careful not to let it overwhelm the story’s action. I have a friend who teaches in an MFA program and is always reminding his students to stay in scene and out of the bushes: “Every time conflict arises on the page they just look to the foliage!”

As a reader, I am very aware of how hungry I am for action, for tension: “What? I don’t want your lyricism about the hydrangea. Is this guy going to kiss her? Are they going to fight?” As a reader you want things to stay in the heat of the moment, but as a writer, much as in life, sometimes I have this impulse to flee conflict and dive into the bushes.

EB: Across this collection you give voice to different generations. “The graying community” of Tornado Auction and the Gondoliers of the future New Florida, even the Old Moms and New Moms in “Orange World.” I feel like, maybe more than ever, we’re really aware of the yawning gap between different generations’ experiences of reality. What was it like to write across these generational perspectives? Did it give you any insight into our current moment?

KR: Oh I love that question. The narrator of the Tornado Auction, Robert Wurman, is a 74-year-old rancher who has retired from raising literal cyclones. It was definitely a new voice to attempt, and I wouldn’t have tried it if I hadn’t been fortunate enough to meet some farmers and ranchers around Robert’s age in the Sandhills.  You asked about research—a few years ago, I went to visit north-central Nebraska, and in some weird way I feel like it synced up with Florida’s Everglades, the flat landscape where you feel clairvoyant almost, because you can see the weather rolling in. Everyone is totally at the mercy of the weather, together. Politically, it was a very red place so that wasn’t something I had in common with a lot of the people that I was talking to. And yet, it did feel like there was this sort of shared sense that the world was changing very rapidly, that it was hard for all of us to get our bearings.  

I was really curious: What are the pressing concerns here and where is there overlap with where I live now in Portland Oregon? Nobody I met in Nebraska was denying that there was change in the air. Maybe we had a different vision of what an ideal future might look like, and how to get there, but certainly nobody wants to live on a flaming marble with no resources. The farmers I met really reverenced their landscape and understood that it was, on the one hand a resilient millennial ecosystem, and on the other hand, very fragile. They had an intimate understanding of how interdependent we are on nature. I mean these farmers were gamblers. Every season was a profound gamble. And so they were attuned to changes in climate in a way that I rarely am in my air-conditioned Prius.

EB:  In “The Gondoliers,” there’s this great generational clash. On the one hand there’s the old man who keeps trying to atone and apologize, saying, ”People my age are criminals. We ruined the world.” While the voice of the younger generation declares: “Our home is no afterlife, no wasteland…I doubt my voice can convince him that our world is newborn…life is flourishing in New Florida…it is our world now, not his any longer; that actually, he is the one who is dying.” So there’s another collision: what happens when generational perspectives clash on a future they each have different stakes in?

KR: That’s a great question. I’m so happy that it read that way to you, because I was really thinking about how to be honest about the fact that yes, on the one hand, this is not a future that anybody wants. I hope that we can pivot in time. That we can save our coastal cities. You see the younger generation pushing the older generation to respond to climate change as an emergency, and as you say, it does feel like a contest for the future. I’m really encouraged by the Sunrise Movement and the Green New Deal. For there to be that kind of mainstream support for a Green New Deal right now.

On the other hand, I’ve read so many of these dystopian worlds lately, and one thing I kept thinking about while drafting “The Gondoliers” is the danger of inadvertently confirming the worst possible vision of our natures. What might happen after a regional apocalypse? Is it really going to be this Hobbesian reality where we all eat other’s bones on a flaming marsh? Maybe. But there’s this really beautiful book by Rebecca Solnit called A Paradise Built in Hell where she pushes back against the idea that after a disaster, the thin veneer of civilization is ripped away and everyone reveals their true monstrosity. Solnit says, no, that’s not what happens after a disaster. She talks about the “somber joy” people feel when suddenly all hierarchies are suspended and they are permitted to be their best selves, actually. They’re helping one another and coming together to form these new kinds of communities.

So that’s all to say, with this story I was hoping to speak to some sense that we might be underestimating the regenerative powers of our own nature and nonhuman nature, too. I don’t know if I executed, but my hope for that ending was to signal that any transformation is also an extinction and that’s terrifying, but there might be another relationship that humans can author with other creatures, with the sky and the water here. We might actually evolve, and in our lifetimes. We might learn to think very differently about what it means to cohabit this planet with other societies, other species.

EB: I’m so glad you bring up Rebecca Solnit because that is something I see in this collection too. My favorite Solnit-ism is her definition of hope and how she describes three different relationships to history—the pessimistic view, the optimistic view, both passive. Hope is an active negotiating of the past and reckoning with everything that goes wrong but also recognizing our capacity to right what we’ve wronged. And there are plenty of examples we can learn from for the present and the future.

We might actually evolve, and in our lifetimes. We might learn to think very differently about what it means to cohabit this planet.

KR: Oh, I love that.

EB: I mean I think this story does that, and so many stories in this collection do that. “Orange World,” for example.

KR: Thank you, Erin. I hope that’s true. Even in the most dire stories, I feel like, if hope isn’t illuminating the sky, even a faint hope, then something is awry, something is false, single-note. Some of the stuff on TV where there’s a kind of glee, some sadistic joy in watching—I mean I really like Black Mirror, but it shades so dark that sometimes I think it feels as false to me as something that is very sentimental. That kind of monotone darkness doesn’t gibe with the complexity of people. Without being overly sunny about this, because I do think the news right now is relentlessly heartbreaking and grim, I also think that it’s not too late to imagine an alternate universe. One that is more just, greener, kinder. And to make it a real place.

And I love that you bring up the old man in “The Gondoliers,” because I think these apocalyptic nightmares can sometimes shade into fantasies, in a sly way. Because we sense that we are dying, and there is something strangely consoling about thinking that the ship will go down with us. It is difficult, I think, to imagine this world going on without us. The old man, a former marine engineer, apologizes to a much younger woman, saying “I ruined the world.” It’s meant to be an apology, but she can hear the boastful note inside it. This guy is not exactly unhappy that he had a hand in this devastation. Like those country songs where they sing, “I’m not proud of what I did,” but then they catalog everything they did…

EB: Can we shift gears to talk about another relationship in this collection? I was so fascinated by the parents in these stories, and the strange things love can make them do. It gives them this superhuman gift and curse, where they can see into the future and hold onto the past for the children in ways that go unseen. It made me think about parents as historians, thankless custodians of our past. And the final story in the collection, “Orange World,” made me think of that role in so many different ways. Can you talk about the way love, and in particular parental love functions in these stories?

KR: Growing up—what a betrayal! We all shake out the etch-a-sketch of all the memories of our dependency. I find that I keep compulsively thanking my parents these days, for keeping me alive from zero to three. How convenient that I have entirely forgotten this period where you had to meet all my needs around the clock!” I think, “Hmm I don’t remember that, but I remember this other time though where—”

EB: Where you forgot to dress me in pajamas for pajama day at school…

KR: Ha! Yes! My friend teaches a memoir class, and she told me the mothers get it so bad: “My father was a charming raconteur, I saw him every seven years! He was so charming! But my mother got sick once and left me with a babysitter. My mother loved me too much.” The blame always accrued to the mom. We probably have to forget this period of our abject dependency or how could we move forward?

But sometimes on planes, men will turn around and give me a disapproving look if my son’s wailing, and then I resent the general amnesia. I really just want to accuse them of having also once been babies. Just point at their navels and say, “You have a belly button. Do you think that you were just sitting with your hands folded in your lap when you were this age?”

EB: I just imagined one of those cartoon flag guns, loaded with a sign that says, “Do you have a belly button?” inside of it, and anytime someone gives you that look, you just maintain eye contact and flare that gun.

KR: [Laughs] Remember…  

EB: So the relationship between the new mom in “Orange World,” and her mother brings a whole new dynamic to the table.

KR: Yeah, that sort of crept up on me. I had a hard time figuring out where to land. There is, without giving it away, a sort of climactic scene that feels like it could potentially be an ending but it continued to feel like something was missing, to me, for a long time. Even though Rae’s mother doesn’t get a lot of real estate in the story she wound up feeling incredibly important to me. I have no idea what a reader’s experience is of the story, but something about these two women—on other sides of the parabola, and also, in this story, literally on other sides of the world—that felt right to me. A mother caring for her dying mother, a daughter caring for her newborn. It’s not like they can perfectly share this experience and it’s not an uncomplicated one. It’s not all joy.

But the idea that you can come to these new understandings of the people you are the closest to, that they’re not static figures in your life? What a surprise that really was, for me anyway, stepping into my own beginning as a mother and feeling, in a visceral way I now had the tools to understand something my mother had felt for us. And still feels for us. That was really powerful, I still don’t know quite how to talk about it. I take for granted my parents’ love for me a lot of the time. I certainly feel it and I believe in it but it was a different thing to have this new insight into what the love of a parent for a child feels like from this side of the equation.

The ending to this story is maybe the happiest one I’ve ever written, but it’s provisional, an ephemeral state. A beginning, really. Because I don’t really buy stable epiphanies. You were just talking about that beautiful Solnit quote on hope—it’s a continuous negotiation. It’s a continuous recalibration. But there’s some sense that something new wants to be born, and maybe there’s a new kind of relationship for these two women.

EB: So it’s a prayer for that world where joy is a familiar feeling, but not a promise.

KR: Yeah! Oh, I love that. Yeah, just that prayer; there’s a little pivot towards the light. She gets to inhabit a heaven for that moment. That kind of matter-of-fact joy was new to me, I think. I feel like this little baby has taught me how to live in time again.

Remember when you were a kid and everything was unprecedented? I was just re-reading Joy Williams’ The Changeling—it’s so good. It’s terrifying, not a sentimental book at all. The book follows a new mother who discovers what can often feel unbearable but what sometimes is really exquisite about being straightjacketed into the present moment with a baby. In the way that we all were when we were kids, not carting around too much of a past, not living in the imaginary future. Watching the bubbles bloom.

When I wrote the ending of “Orange World,” I was surprised to see that it felt like a happy one. This felt like perhaps the biggest leap of all, the biggest risk. In my earlier work, I found myself drawn to a different kind of open ending, much darker—in my first collection, I leave two children stranded on a glacier with no transponder and no hope of rescue.

Instead of stranding my protagonists on a literal precipice, now, every so often, they make it down the mountain.

I was excited to discover that now I can imagine a threshold that feels more hopeful, even happy—instead of stranding my protagonists on a literal precipice, now, every so often, they make it down the mountain. Sure, they’ve sustained damage that will no doubt haunt them for the rest of their lives…but I can see new possibilities for them, these women who survive their worst nights.

It’s a little bit of a cliche, but also not untrue, that in our adult literature the final notes can be quite melancholy—this makes sense, I think, given that we are all living inside a story where nobody gets out alive. I’ve been reading to my son, and there is no such thing as a dark or open ending in his literature. All children’s books end happily, it turns out. My friend was telling me she read her son Metamorphosis, the adult version, just to see how he would take it, when he was four or five. And when she got to the end, where Gregor dies, he burst out laughing. He was like “That’s it?! It doesn’t have a happy ending?” To his mind, Kafka had made the craziest literary innovation, a book with an unhappy ending. He was like, “How did he come up with that?”

Losing Faith and Finding Fantasy at Harry Potter World

I do not believe in magic. I don’t see a need for it. A belief in magic negates how complicated the world actually is. There is a universe full of wonder and terror that we are only just now beginning to understand, which makes it hard for me to put faith in ghosts or spells or other things we know not to be true.


In December of 2017, I drove with my family from Chicago to Florida, only a few days before New Year’s Eve. Although we would be staying on the Gulf Coast, my wife suggested that we take our kids to Harry Potter World at Universal Studios in Orlando on the way there. As any reasonable person might tell you, this was not on the way. It was several hundred miles out of the way and was also an additional expense—upwards of several hundred dollars. Both of our children are voracious readers and love Harry Potter. We had read the first two Harry Potter books aloud before my ten-year-old-daughter made her way through the remaining volumes on her own. But I still did not want to go to a theme park based on the books and movies.

“It’s a one time thing,” my wife argued.

I said going to Florida was special enough.

“But it’s for one day,” she countered. As a parent, one of my fears is that my children are growing up in a world that suggests just because you can imagine something, you can have it. They are good kids but extremely privileged. They have not gotten their hearts broken, they have not been disappointed nearly enough. I thought, perhaps, that driving to Harry Potter World, being confined to the backseat for twenty hours beside your sibling and then seeing adults dressed up as wizards, might be one such opportunity for disillusionment.


Once when I was four or five years old I found a small blue egg in my backyard and thought it might have been left there by an angel. I do not know why I imagined that. I told everyone at dinner that this was what I thought and no one bothered to correct me.


The way people talk about Harry Potter, their voices take on a quasi-religious quaver.

The books themselves are captivating. The characters are strong, especially Hermione, and the world J.K. Rowling builds is relentlessly layered. But you have to say this. You have to agree that you like the books or people on the internet will get angry, as if they are engaged in some political debate. The way people talk about Harry Potter, their voices take on a quasi-religious quaver. You have a feeling someone is talking about their culture, their identity. Which maybe they are.


The journey would be 22 hours in total, over a period of three days. Twelve hours to the Smoky Mountains where we would stop for the night, then seven hours to Savannah, Georgia, then a few more hours on to Orlando. We bought a map so the kids—ages ten and seven—could follow our progress. We left at 4:30 in the morning and began to drive through the cold blue Indiana light. On the road, they could watch cartoons on their iPads. At six am, we pulled over and had breakfast at McDonald’s, something our kids almost never got to do. Eating the Styrofoam-textured pancakes, seeing their sleep-deprived smiles, one could argue something otherworldly was already at play.


I have always believed—somewhat stupidly—in the majesty of America, or in the mystery of the physical landscape of the nation itself. It seems unconquerable. I had grown up in the ‘70s and ‘80s and witnessed the cosmic war between good and evil, right and wrong, and came to think that both the U.S. and Ronald Reagan were infallible. I still recalled the condemnation in that man’s voice as he accused the Soviet Union of being an “evil Empire.” All of that certainty remained in the land itself, the sturdy resolve of hills and valleys, the rising sun coming up over a rolling tree line in northern Kentucky.

There was also the almost indescribable uniformity—the same prairie, the same billboards, the same kind of cars, the same kind of houses—that gave you the sense America was endless and could not possibly be questioned. Every half hour or hour there was a sign for a Burger King, a Taco Bell, a Pizza Hut. It was impossible to ever get lost, to be uncertain in a land that repeated itself over and over again.

We stopped at a Chipotle for lunch, the second fast food of the day. Both kids looked at us like we had lost our minds; they could not believe their luck.


I do not have a belief structure of any kind of specificity. I grew up Catholic—my parents were Bosnian, Polish, and Italian—and each of those cultures possessed their own relationship to magic. Certainly the story of the empty tomb suggests the terrible possibility of magic in an uncertain world.

Once when I was eight and had trouble sleeping, my Polish grandmother gave me a St. Christopher medal to wear and said all my relatives who had passed away would also watch over me. As you can imagine, I had even more trouble sleeping that night.


The backseat began to smell the way humans do after only a few hours of driving. I caught sight of my son doing a book of Mad Libs. Then my son and daughter began to page through an illustrated version of the third Harry Potter book. Both he and his older sister were transfixed.


On the way through Kentucky into Tennessee, there was some kind of phenomenal accident on the highway. Flashing lights and road flares blocked our path. Google Maps suggested an alternate route. We left the highway and began the long circuitous drive along the backcountry of the lower Appalachians. My kids peered out the windows. The small hamlets of the Smoky Mountains had been hit hard by economic recession. In these perfectly secluded hollows and valleys, you could see homes on the verge of falling apart, a hand-painted sign warning off meth dealers, an American flag hanging above a charred motel, half-burned.


One year after one of the most contested and troubling elections in my lifetime, you could trace the shape of an entirely different country, how removed it was from the present we knew, and come to an understanding of why someone offering to support working class communities, someone with an isolationist worldview, could persuade so many voters to go against their own self-interests. If you never left the place where you had been born, the town you had grown up in, it would be all too easy to believe whatever you wanted about the world.

I worry that all these fantasy stories might suggest that, as a culture, we are in a prolonged state of arrested development.

What was this need then, to want to put your faith in something, on some basic level, you knew couldn’t possibly be true? To accept the impossible, lies upon lies, fiction upon fiction? What does it say about our capacity as humans to be fooled, how gullible we actually are, and our willingness to participate in that complete delusion?

I worry sometimes. I worry that all these fantasy stories, our never-ending quest for magic—Harry Potter, all the Marvel movies, Star Wars, Game of Thrones—might suggest that, as a culture, as a nation, we are in a prolonged state of arrested development. I worry we are unable to move past the duality, the magical thinking of adolescence, and that the books we read, the movies we watch, the television shows we love might be partially to blame.


We stopped in the town of Gatlinburg, Tennessee for the night. Everything in that town was lit-up, loud, noisy—a tourist destination surrounded by mountains. There was a wax museum which no one but me wanted to attend. So we got gigantic margaritas and then took the kids swimming at the motel pool which had a fake, indoor waterfall. There was still magic in that indoor man-made waterfall, regardless of how unrealistic the false rocks looked. We let them stay up late swimming, thinking it would tire them out. It did not. Back in the motel room with its stale-smelling air, they continued to joke and dance and wrestle until angry words were exchanged. Finally we read Harry Potter to get them to settle down. Soon they were quiet. I did not like how invested both children had become in the fates of these imaginary people.


I had seen a shift in the students I worked with as well. Twenty years ago, all the young writers I knew carried Naked Lunch around with them. The writers they admired were transgressive—Hubert Selby Jr., Jim Carroll, Mary Gaitskill. Their works questioned social and political institutions—Toni Morrison, Louise Erdrich, Dorothy Allison.

In one of my writing classes this year, an undergraduate said she did not want to read Bastard Out of Carolina because it was too sad, too real, which was why she preferred fantasy literature instead. I had assigned the novel after the recent Kavanaugh hearings.

In another class, two graduate students who were working on fantasy books said that they refused to write characters who were unlikable because they had to deal with people who were assholes in the real world all the time. For them, fiction was something else, a place to imagine, free from the constraints of reality. They did not want complex characters; they wanted characters they could root for. I have always thought of fiction as the opposite—as an in-between place, a space where you could engage with the liminal, the complex, the complicated things that could not be easily understood.


Over the mountains and down through the Carolinas to the sweeping coastal plains. I tried to talk to the kids the next day, but both of them were too busy reading or watching Harry Potter movies. But I think it was good for all of us to be silent together. It was like we were all sharing the same daydream.

Once again there was some other kind of tragedy out on the highway. We took several arcing rural roads, passing beneath the limbs of trees overcome by Spanish moss. In the motel pool that evening, a mother carried her daughter from a wheelchair to a mechanical lift so her girl could enjoy the water. It smelled a little too much like bleach. But the girl clapped, and moved her hands in the water, and splashed at her siblings, like nothing bad had ever happened to anybody.


We arrived in Orlando late the following afternoon. Apparently if you spend a night at one of Universal’s resort hotels, you can get free fast passes, which my wife discovered were essential to get on rides you wanted to. So we found ourselves staying in a nondescript fake Venetian hotel.

My son said he was too excited to sleep so we read a little more from the book.

I talked it over with my wife in murmurs after both kids finally fell asleep. I can only imagine what it would be like reading Harry Potter as a kid. I had a hard time with fantasy stories when I was younger. The covers, even the fonts, made me extremely self-conscious. Comic books were okay, but I read those in seclusion; science fiction as well. By the age of ten, the fear of being seen checking out a fantasy novel at the library was so severe that I refused to go down the aisle, as if there was some kind of negative force at play, some dark energy that would immediately nullify all my future prospects. The imaginary was one thing—if someone made the effort, you could try and explain time-travel, at least partially. The impossibility of a fantasy novel was something altogether different.

I assumed if I even touched one of those books I would be rendered both mute and invisible.

On some level, I also believe it had something to do with sex. Even at that age I was aware that certain books, certain movies, certain clothes could render you permanently sexless, and that others might see you as a less-than-ideal mate. I had a presentiment that reading fantasy novels would be an obstacle, an additional conflict to the many other problems I already had. I assumed if I even touched one of those books I would be rendered both mute and invisible.


On the morning of our day at Harry Potter World we overslept. You have to get there by 7:30am or the lines for the rides will be so long, you will never get to do them all, or so the internet told us. I was just happy everyone had eventually fallen asleep.

We went outside and took a motorized gondola down a swampy canal to the park’s entrance. We donned wristbands, got IDS made, put them around our necks. Then we waited in a long, long line. Both of our kids were more excited than I had ever seen them before. It was like seeing them on drugs. They did not know where to look, what to do with their eyes.

Universal Studios, Orlando is probably like a lot of other theme parks. I don’t know. I have not been to too many. We made our way past the front gates, practically running past the other movie-themed rides and attractions. In the distance was Harry Potter World with its gray and black castle, train station, and replica English shops and back alleys. I was dubious up until the very moment, and then when the moment arrived, an odd tranquility set over me.


I’m going to be honest now. I once got into an argument with a friend over Harry Potter, having never read any of the books. I accused her of liking a book that was made for children. I said she was afraid of adult literature. It was years before I had kids of my own; I think both my friend and I were in our late twenties. Like many writers I had a complicated opinion of any other author’s success. It was amazing to see so many adults line up at midnight to buy a book—a novel, at that. But wasn’t there something kind of off-putting, kind of odd about grown-ups being as invested in a novel as the young people it was marketed for? What did these adult readers of Harry Potter and the Hunger Games want? What was it they were running from?


I watched my kids race through Diagon Alley. We went on a ride that took us through a magical bank. A magical bank! It was cold for December in Florida and raining a little but no one seemed to notice. From store to store, we explored the replica town that had been built first in words, then onscreen. It was surreal, to stand in a place you had read about, and to see the totality of detail the world J.K. Rowling had imagined. Everyone—included the people hired to work at various points of contact—seemed enthusiastic to be there. You could not manufacture that kind of happiness.

How do you escape the idea that life is more than just good versus evil if all the most popular stories of the day suggest the opposite?

If you bought a certain kind of wand, you could point it things and those things would move. A fountain would spit water. A toy in a shop window would dance. I was apoplectic, shocked at the level of cleverness and invention. Both kids ran from spot to spot, engaged in reciting spells. Sometimes they worked, sometimes they didn’t, which I thought was perfect. Imagine if you could step into one of your favorite books and make things move around. It was implausibly and thoroughly enjoyable. We ate candy from the candy shop, drank the drinks. I turned and saw people—many, many adults dressed in black robes, many people in their twenties without children doing the very same things we were doing. I admit I was puzzled and a little saddened by this.


William Perry Jr., a psychologist and professor at Harvard, conducted a fifteen-year study of undergraduates and described the cognitive development of these students, beginning with dualism—good vs. evil and a reliance on magical thinking—and maturing to multiplicity, to relativism, to commitment. I wonder why it seems the majority of our nation is unable to move past basic duality? What if our culture, our politics, our social structures, all our entertainment only reinforces such beliefs? And what if those same stories—described in book series after book series, film series after film series—all the commercial narrative of the last thirty years only repeats the same thing? How do you ever escape the idea that life is more than just good versus evil if all the best-loved, most popular stories of the day suggest the opposite?

Moving amongst the theme park and all the people gathered there I realized I had lost faith.

The election had ruined some things for me. It had taken away a belief, my sense that, on some basic level, people could be good.

I want to believe that. I still do.


I have sometimes prayed, which is also a kind of magical thinking I have been guilty of. I have prayed for a number of ridiculous things over the years, some of which I am too embarrassed to put into writing. I believed, even at the time, that no one was listening and yet I still did it. Once my wife was pregnant and the doctors could not find the heartbeat. For several days I prayed for things to go the other way. I believed while I was praying that what I was doing might make some infinitesimal difference—which is the basis of any kind of belief, hope in the face of direct evidence to the contrary.


In the end, it was not the rides, or the millions of details translated from J.K. Rowling’s exhaustive literary imaginings. It was the people themselves. We were waiting in line to go into the Hogwarts castle and you could hear all the voices, all the languages being spoken. A Sikh family in black and green wizard robes—the father and sons also wearing turbans—waited a few feet in front. A group of noisy young Italians—all wearing robes—spoke excitedly behind. It seemed like some people had traveled hundreds, thousands of miles to come to this imaginary world, this place inspired by a book, by words, because they believed in something, as odd and fantastic as it was. Their enthusiasm did not answer any of the larger questions. Coming to a place built entirely on fantasy did not resolve the difficulty of a country’s reliance on dualism, but it was a start. It was a belief you could build on. It was an insistence in the possibility of impossibility, in the probability of improbability, which anyone could tell you is essential for any sort of change.

In the parking lot, loading up our luggage later that afternoon, I could see a number of Trump bumper stickers on the back of many minivans and SUVs, but decided not to count. I did not want to ruin the feeling, the quiet spell that had been cast.

5 Unclassifiable Books by Women, Recommended by Kathryn Scanlan

It’s hard to explain Kathryn Scanlan’s book Aug 9—Fog. It’s archival, reproducing text from a found diary. It’s transformative, rearranging lines from that diary like a collage. It’s… a book-length found poem? A remixed autobiography? Anyway, it’s cool. And Scanlan has suggested five other cool, poetic, transformative, or formally innovative books for our Read More Women project.

Read More Women is Electric Literature’s series, presented in collaboration with MCD Books, in which we feature prominent authors, of any gender, recommending their favorite books by women and non-binary writers. Twice a month, you’ll hear about the five non-male authors who most delight, inspire, and influence your favorite writers.


Mary Ruefle, A Little White Shadow

How I love this work, published by Wave Books in 2006. In its paperback form—small, slim, plain—the book is reminiscent of a religious pamphlet, which makes sense given that the original text (of the same name), made new here by Ruefle, was written by Emily Malbone Morgan, a Christian philanthropist. Morgan’s A Little White Shadow was published in 1889, and the proceeds were used to build a vacation home for the exhausted girls who worked in textile mills. Ruefle approached this text with white paint, redacting much and thereby revealing and creating a new poem. A critic in Found Poetry Review writes that in doing so, “Ruefle exposes Morgan’s voice not as author, but as figure to step out of time and address the modern,” which I think is an apt way to describe this work. The pages are archival photocopies of Ruefle’s original, preserving the texture and color of the antique, which contrast beautifully with Ruefle’s rough white. Though she is working with the text of another, the pleasure and surprise of Ruefle’s poetic genius nonetheless abounds: “very simply/It’s always noon with me/pale, and/deformed but very interesting.”

Claudia Rankine, Don’t Let Me Be Lonely

When I first read Don’t Let Me Be Lonely in a graduate class more than a decade ago, it forever changed my thoughts on form. Written in the years following 9/11 and published by Graywolf in 2004, it is a meditation on memory, loss, grief, anxiety, medication, the body, and the media, but that of course is a gross simplification of this profound masterwork. The book is sectioned into what might be called chapters by a reoccurring image, alone at the bottom of a page: a black-and-white picture of a television set, its screen full of static. Other images of television (and computer) screens appear throughout, as well as scans of prescription medication labels, a schematic for the torso and apparatus of Mr. Tools—for a while the only person in the world walking around with an artificial heart—and a diagram of the human digestive system where the intestines have been replaced by the dark mass of the United States. Rankine’s prose moves like a mind awake in the night, unable to shut off, unable to discontinue its incessant processing of images, of stories, of worry. The control with which she does this, and the depth of meaning achieved, are things to be studied, to be marveled at.

Lydia Davis, The Cows

Published as a chapbook by Sarabande in 2011, The Cows is a slim, 37-page volume wherein Davis observes the postures and movements of the cows who graze in a field opposite her home. The text—accompanied by photographs taken by Davis, Theo Cote, and Stephen Davis—is comprised of discrete, descriptive paragraphs told in the present tense. I get the sense Davis might’ve written these whenever she came into her kitchen for a glass of water or a snack—they have the daily, habitual feel of a weather journal, and in fact weather is sometimes described along with the cows: They seem expectant this morning, but it is a combination of two things: the strange yellow light before a storm and their alert expressions as they listen to a loud woodpecker. I am delighted by the endurance of this seemingly banal endeavor, by Davis’s tender humor, by her perfectly turned renderings of these animals whose positions mark her days like the hands of a clock. She describes the cows as though they are works of art—which, of course, they are.

Harryette Mullen, Sleeping with the Dictionary

The glee I experience when reading this book is something rare, and I can only imagine Mullen to have had a similarly joyful experience writing it. The poems, arranged alphabetically, are shaped by Mullen’s engagement with Roget’s Thesaurus and The American Heritage Dictionary, but also by the strategies of the Oulipo and word games like puns, anagrams, and homophones. I take particular delight in her liberal use of periphrasis (the Wikipedia example of this is the elongated yellow fruit in place of banana), which results in sentences like this one, from “European Folk Tale Variant” (her rewrite of Goldilocks and the Three Bears): The way the story goes, a trespassing towheaded pre-teen barged into the rustic country cottage of a nuclear family of anthropomorphic bruins. Yet her playfulness is ever tempered by—indeed seems to spring from—a formal rigor and investigatory purpose. I get the sense she is always listening to language and how we use it—always picking up scraps of it to contort and collage, always alive to both the shortcomings and the endless possibilities of speech.

Maggie Nelson, Jane: A Murder

I’d read—loved—other books by Maggie Nelson for years, but for some reason, I didn’t read Jane: A Murder until recently. I read it in one sitting and felt it spoke to so many things I’d been trying to figure out over the years about form, about literary collage, about possibility and meaning. Originally published in 2005 and recently reissued by Soft Skull Press, the book is a portrait of Nelson’s Aunt Jane—her life and death—built from myriad sources: Jane’s diaries and letters, accounts from family members, newspaper articles, and a pulpy book that sensationalized the murder of Jane and several other young woman in Michigan in the late 1960s. Nelson manipulates her material in a way that is cohered by her poetic vision yet also remains polyvocal. It is a restless, resistant book that refuses the treatment so often given to acts of violence—a type of lurid gawking—and instead creates a complex, unsettling, and ultimately unresolved (how could it be otherwise?) depiction of a life lived, ended, mourned, and imagined.

Lenin’s Corpse Won’t Look This Good Forever

“Preservation”
by Maria Lioutaia

Over the past month, Valentina had attempted every procedure, from reputable to highly experimental. She’d bathed Lenin’s body in hydrogen peroxide and potassium acetate, employed benzene wipes, adjusted the dosages of intravenous polymer, applied refined paraffin wax in a thin layer over the face to maintain the appearance of skin, even resorted to botulinum. But the corpse had ceased all cooperation. After seventy years of successful maintenance, Lenin’s body was deteriorating faster than the morticians and biochemical scientists could keep up. Patchy dark spots bloomed across the dome of Lenin’s skull. His eye sockets collapsed like sinkholes. That morning, as Valentina inspected a gray fleshy protrusion on his temple, his left ear had fallen off into her hand like the handle on a poorly made clay mug. Most worryingly, there was a new smell about him. A damp, ghoulish, subterranean stench.

Valentina took the creaking elevator from her basement office at the Red Square mausoleum to the viewing chamber, where she could peek into the main room through brocade velvet curtains. Lenin was arranged on the central dais, as always, strategically spotlit by a soft peach wash over his recessed features. Today he was dressed in a black wool suit with double lapels and a maroon pinstripe tie. They’d had to change his suits almost daily this week, to keep up with his skin secretions. His face was serene, as though he were simply indulging in closed-eyed contemplation after a busy day of guiding the proletariat. Despite the flattering shadows of the room, Valentina could see the cluster of fungus on his bald pate through the glut of concealer.

The bare-headed procession of schoolchildren, pensioners, and tourists shuffled by on a cordoned walkway. Attendance had noticeably declined in the past year, since the dissolution of the USSR. For most visitors, dead Lenin was now just a morbid curiosity, one more thing off the Red Square checklist, after buying ice cream plombir at GUM and a photo with a celebrity impersonator. Biting editorials in the newspapers suggested that Lenin should be put to real rest, buried in the Kremlin’s walls so the country could move on into a post-Soviet future without its history so prominently on display. Valentina listened to the hush, the whisper of feet on carpet, watched the shadow-chiseled faces passing under the peach light. And in the middle of it all Lenin, glowing on the dais, magnetizing attention toward himself, the epicenter of their gaze.

Most people thought of death as an instant: a transition from being to not-being, like flipping a light switch. But Valentina understood it as a progressive condition everyone was born with, a deterioration that was irrevocably intertwined with life. Cellular degradation began long before—and continued long after—the ceasing of the heartbeat. To be able to contain the process this long, to keep Lenin’s body looking nearly alive, felt almost like commanding time itself.

Valentina savored, too, the intimacy of knowing someone after death. Her relationship with Lenin had exceeded her marriage. She knew that pale, waxy body better than her ex-husband’s and better than her son’s. Living bodies changed constantly. Acquiring new moles and stretch marks, growing hirsute or bald, wracked with new aches and smells and destructive bad habits. The encroachment of menopause was rendering Valentina’s own body alien, from the hot flashes that left hives under the folds of her breasts, to the relaxation of her jawline, its slow sag. Some mornings she looked down in the shower and barely recognized the landscape.

Lenin’s body, on the other hand, had been comfortingly consistent. Valentina had memorized the mole constellation on his back, the soft skin valleys between his ribs, the gaping maw of his abdominal incision, how the wiry bristle of his copper chest hair felt across her palm. But now he, too, was changing, rejecting all attempts to preserve him.

Valentina watched as each person came level with Lenin’s head: their chins lifted, eyes flickered at the body in nervous confusion, nostrils flared. That dendritic smell threaded itself through the room and announced with certainty that Lenin was decomposing.

“Valentina Nikolaevna, phone for you downstairs,” said Katya at her back.

As Valentina stepped off the elevator, Boris walked by with a stack of fresh gauze, trailing the smell of formaldehyde down the hallway. She entered her windowless office, lowered herself into the chair, brought the receiver to her ear.

“Valentinushka, how’s Comrade Lenin? Back to tip-top shape?” It was Anton Antonovich Saratin, the director of the Institute of Cultural Preservation.

Valentina twisted her fingers into the telephone cord. “Unfortunately, he’s not cooperating just yet.”

There was a pause at the other end. A long pause.

“Well, make him—I just had word that the Ministry of Culture is sending an inspector tomorrow morning, since there’s been some public reports of a rotting stench. And do you know what will happen if they find him ready for burial? Kaput, that’s what. For all of you down there. Possibly for me as well.”

Under her sternum, Valentina felt the sprouting of panic. “I need more time.”

A sigh on his end, the scrape of a heavy chair against wooden floorboards. “I don’t care what you have to do, shove Plasticine up his ass, lacquer him with nail polish, just make him look presentable tomorrow.” And there was the dial tone in Valentina’s ear.

She sat for a long time staring at objects on her desk—a pen, a conjoined tail of paper clips, a little figurine of a knight constructed out of acorns, twigs, and prodigious blobs of glue that Yurik had made in school years ago. What could be done? They’d already tried everything within budget and scientific reason. Could they make a wax figure of Lenin to temporarily replace the body? This required expertise, carvers and painters they didn’t have on staff and wouldn’t have been able to pay anyway. Plus, there was the issue of time. A wax copy would take time, and she had fewer than twenty-four hours at her disposal. There was really nothing to do. She’d already failed.

“Katya, get everyone in here,” she called into the hallway.

The half-dozen mausoleum staff made their way into her office, and Valentina glanced around in preemptive farewell. Her long-suffering ficus plant, its leaves in need of dusting. A gold tinsel garland pinned over her doorway and a miniature plastic fir tree decorated with tiny baubles in a ceramic pot on the corner of her desk. Two days before New Year’s. And now Valentina had to announce that Grandfather Frost was bringing everyone unemployment.

She explained the situation, but didn’t have to explain the impossibility of passing the inspection.

“Is there nothing we can do?” said Boris, leaning against the doorframe, a smear of something brown and Lenin down the lapel of his lab coat.  

“What, dress you up as him and hope for the best?” fired someone from the back, and there was a dry chuckle, followed by resigned silence.

Valentina looked at all of them. “There’s no use you being here tomorrow for the inspection. Go home early, try to enjoy the New Year’s holidays, and may ’93 be kinder to us all.”

They closed the mausoleum early, removed Lenin from display into the laboratory downstairs. Her colleagues stopped by her office one by one to shake her hand and wish her happy New Year in mournful tones, before departing. Even Boris left eventually, after attempting final, futile attempts at resurrection. Then she was alone. She ripped the gold tinsel down from the doorway and wrapped it around the acorn knight before tucking the figurine into her purse. She wasn’t sure if the ficus plant counted as government property, so didn’t risk taking it. She put on her raccoon-fur coat, picked up her bags, locked her office, and walked down the hallway to the refrigerated laboratory.

Lenin rested supine and naked on a metal table under UV lamps, a square of quinine-soaked gauze plastered onto his forehead. There were new gray striations along the veins of his feet, and his skin looked like old tights: too taut and threadbare in some regions, too loose and wrinkled in others.

Valentina stood over him a long time, then took his cold, stiff hand in hers and said, “Traitor,” before bursting into tears.

She tied her wool scarf around her head and gathered the collar of her coat tight to her neck against the bluster of damp wind racing across the expanse of Red Square. A blind sun smeared low across the sky, and the clouds on the horizon were leaden with coming snow. On the front steps of the mausoleum, Valentina rearranged her bags into the crook of her arm, ducked her head low in the wind, and took a diagonal direction past Saint Basil’s. She had no particular destination in mind. It felt too early to go home. The cobblestones under her boots were slick with gray slush.

Her wedding portraits had been taken not far from where she walked now. On the other side of the square, in front of the Eternal Flame. The memory was more painful than tender. The Moskvich auto-body factory where Alexei had worked for a decade had closed three years ago, and he’d started moonlighting in small garages, where vodka and despair were ever present. The verb spilsya had always intrigued Valentina with its accuracy. It implied not just drunkenness, but a concluded descent into drunkenness, as though taking regularly to the bottle was a slide covered in noxious slime, with no way back up. It implied a process, a degradation of will and faculties and resistance. She’d tried begging, coaxing, threatening. She’d tried hiding the money, but while she was at work Alexei hawked her jewelry and her father’s photographic equipment at bazaars for a fraction of their worth. She’d brought him to countless specialists, including a hypnotist in the suburbs. She’d even bribed an old school friend—now a doctor in a government hospital—for a referral to the high-end sanatorium in the invigorating pinewoods north of Moscow. Alexei spent two weeks there, then the day after returning home fell off their third-floor balcony drunk and broke his collarbone. Once the sling came off, Valentina told him to leave, for their son’s sake more than for her own.

This square held nothing but reminders of how things altered cruelly and permanently. Her life was in its autumn, lonely and losing leaves. Valentina made it to the fir alleyway that ran parallel to the Kremlin’s wall, where wide-backed benches stood at intervals along the walkway, though most were damp with snowmelt or tagged with loopy graffiti. She walked until she found one sufficiently protected by a sprawling blue fir and cleaner than the others. A man behind an issue of Pravda occupied one end. Valentina wiped the slats on the other end with her handkerchief, then sat down.

The day was quickly withering. People hurried toward the metro to beat the rush hour, here and there impersonators walked about alone or in pairs looking for tourists to take a photo with them for a couple of rubles. There were a few Stalins, a Marx or two, a random smattering of Pushkins and Tolstoys, but the majority were Lenins with varying degrees of physical resemblance and comportment. How dare they presume to look like him, thought Valentina. It was, in fact, hard to pick the worst resemblance. Perhaps the gangly Lenin trying to light a cigarette in the wind, his too-short army-issue pants showing hairy ankles. Or the one barely in his midtwenties, hiding his full head of curls under a cap. Posing with a young couple in front of a Kremlin wall was a doughy Lenin with the red-veined potato nose and under-eye paunchiness of a committed alcoholic. Worthless imitations, the lot of them.

Valentina heard an “Excuse me” and glanced up. But the woman holding a small boy by the hand wasn’t talking to her. She was addressing the man with the Pravda on the other end of Valentina’s bench. “Excuse me, could we take a picture with you?”

The woman gestured vaguely at her son, who sucked on a mittened hand. The man on the bench slowly and carefully started folding his newspaper, and Valentina realized that he was another Lenin impersonator, with a black overcoat open to a slightly bulging vest. Before Valentina could take a good look, the woman extended to her a boxy chrome-and-black Zenit. “Could I ask you to take the photograph, please? Do you know how to work a camera?”

Valentina nodded. Her father had taught her, and she’d taken all of their family snapshots herself, developed them in the bathroom, before Alexei had sold the camera and lenses.

She took a few steps away as the Lenin stood and mother and son posed stiffly beside him. She pressed her right eye against the viewfinder and twisted the lens, bringing the scene into focus. As the Lenin’s features sharpened, a surreal prickling of recognition made Valentina freeze. Something about the way he held himself, stiff but commanding. The carefully trimmed mustache and ruddy beard framing that familiar thin-lipped mouth. That sharp ridge of cheekbone. And those eyes, with their almost Asiatic narrowing in the corners.

She lowered the camera.

“Did you take it?” the woman called.

Valentina lifted the camera once more, wound up the film, counted out loud, “One, two, three,” heard the snap of the shutter, and handed the Zenit back to the woman, all in a haze.

The woman extended a handful of coins, asking the impersonator, “Is this enough?” He nodded curtly, then dropped the change into his overcoat pocket with a little pat. Then he sat back onto the bench and raised the Pravda back up to his face.

Valentina waited until the mother and son were far away. The only thing she could make out beyond the open swath of newsprint was the man’s left ear—small, delicately sculpted, with a defined and well-curved rim, an ear that was painfully familiar to her after she’d spent the past week trying to get it to stay on Lenin’s head. Valentina felt a kaleidoscoping of reality that made her clutch the bench slats to offset a sudden swirl of dizziness.

After a couple of moments she finally found her voice. “Pardon me, comrade?”

The Lenin tipped one corner of the newspaper and faced her. It really was uncanny. The only thing that allowed Valentina to be sure was the eye color. Lenin’s eyes had been dark brown, almost black. Beady. Those who’d seen them in person said that gaze perforated their thoughts, left gashes for his ideas to blow through. This Lenin had eyes of warm honey, amber-sealed, kind and tired.

“It’s incredible,” Valentina murmured. “Are you by any chance related?”

It would’ve been a ridiculous question even a few years ago, Lenin’s relative busking for change on Red Square, but was a reasonable possibility in the present confusion. Chemists were quitting broke universities for open-air market stands, mathematicians added spare cash as gypsy cabbies, policemen supplemented their income in the employ of mobsters.

Only after she spoke did Valentina realize she hadn’t specified whom she meant, but by the definitive shake of this Lenin’s head, it was evident she didn’t need to.

His face darkened. “Devil take it all, no. A genetic curse, a cosmic joke.” He spat on the ground as if he’d bitten into lemon peel.

The vehemence was so pronounced, Valentina drew back. “Is it really so terrible?”

He looked at her for a long silent moment, and Valentina felt herself blushing.

“You have no idea, believe me. Did you want a photo, too?”

“Not quite,” whispered Valentina.

She explained to this Lenin—his name was Sergey—the plan that had formed at her first glance of him. Once he understood what she was asking of him, he bolted up from the bench. But instead of leaving, he began pacing back and forth under the fir trees along the pavement, folding and unfolding his newspaper, flushed pink continents materializing on his forehead. On the one hand the risk of being found out, arrested, charged with—what? Surely not treason. Tampering with a dead body? Valentina wasn’t sure what the charge would be, save there would be one if they were caught. On the other hand, his overcoat was threadbare in the elbows, his shoes scuffed and thin-soled. He stopped sharply in front of Valentina and asked, his eyes downcast to the cobblestones, “So, say I do. How much?”

Valentina offered the entirety of her week’s salary. She and Yurik would get by, and a successful inspection could buy time. Maybe over the holidays she would figure out how to restore the real Lenin back to normal.

Sergey looked up at the Kremlin’s walls as though there were still snipers positioned at the embrasures. He kept rubbing his head, smoothing his hand down toward his face. Then he looked at Valentina again, carefully and steadily, for so long she became suddenly aware of her puffy post-cry nose, the fine lines around her mouth, the gray starting to show at the roots of her brunette bob. He nodded.

Valentina had little memory of how she got home. The press of silent bodies in the train car, the looming of her apartment building in the swirl of snow, her hand trembling so much that the key scraped against the metal of the lock before finding the keyhole. The apartment was silent. Only the quiet ticking of the stove clock and the muted shouts of the neighbors’ television. A scrawled note slipped under a dirty plate on the kitchen table informing her in Yurik’s disheveled handwriting that he was studying tonight at Dima’s. She drew one finger through the remnants of strawberry compote on the plate. She felt she was operating in some ether, the ether of dread of the next day.

Valentina moved over to perch on the windowsill, then drew the telephone into her lap. She picked and pulled at the numbers one by one, the rotary disk clicking back with each circumnavigation of the dial. She took a deep steadying breath.

“Oh, Annechka, you’re still at work, good.” Annechka was one of her oldest friends, a veterinarian. “Listen, I need a big favor. My cousin, she’s got this dog to transport from Lithuania, a guard dog, and it’s not exactly an aboveground transportation, if you know what I mean. They’ve got to keep him completely quiet in the truck over the border. Is there something they can give him, to make him stay asleep for a couple of hours? One of those big drooling beasties, with the thick coat. A Caucasian Ovcharka, yes. Oh, I’d say—” Valentina had lifted embalmed Lenin’s body often, but it was a different matter when it was full of blood and organs. Miscalculation could be deadly. “I’d say around seventy-five, eighty kilos. Yes”—she laughed—“a big one. They’re willing to pay, you understand, more than the usual rate.” Valentina glanced at the small soup tureen stored on top of the fridge, where she’d hidden some sparse savings meant for Yurik’s new winter boots and perhaps eventually a Black Sea vacation for herself. “Oh, Annechka, I’ll pop over right now. You’re a lifesaver.”

She couldn’t fall asleep. Headlights from passing cars chased each other across the ceiling and twice she got up to check that the vial was still in her coat pocket. Around midnight she heard the soft click of the door latch as Yurik snuck in well past his curfew, the stumbling and quiet swearing as he tripped taking off his shoes in the hallway, the gurgle of urine hitting the toilet bowl, the creak of the foldout couch springs in the other room. Now an adolescent, he seemed too tall and angular for their cramped apartment. The first time his voice had broken, Valentina was so startled by the man’s timbre that came out of her small son that she dropped the pot of water she’d been carrying to the stove. Just yesterday she’d caught him smoking near the building entrance. As she’d swatted him upstairs, he walked slowly, with a new swagger, something insolent and foreign in his eyes. By dinnertime he was back to himself, but that insight into her son as no longer her child had terrified Valentina.

At five, she gave up on sleep and headed to the mausoleum. She spent the early hours packing up Lenin’s body. He looked worse than the previous day. The gray striations now threaded over his thighs and up to his groin, as though time were collecting him in monstrous tentacles. Before zipping him up in a white bag and sliding him into the storage pod, she leaned down and pressed her lips hard against his cold, damp forehead.

“Where do you want me?” Sergey stood awkwardly in front of the dais, hands shoved deeply into the pockets of his navy tracksuit.

“First, change into this,” Valentina said, handing him one of Lenin’s black suits along with a white shirt and striped gray tie. It was a suit they hadn’t used in the rotation in a while, and it had been cleaned, but it still emanated subtle pickle-like notes of fermentation.

Sergey drew his hand across the wool, slightly frowning. Then he flipped up the manufacturer tag of the suit and laughed a short sad bark of a sound.

“I made this suit,” he said.

Valentina didn’t understand.

“You think I’ve been busking on the Red Square my whole life?” He fingered the suit collar. “I used to have a real job. Supervisor of production at the wool factory in Yekaterinburg.”

“So why did you leave?” Valentina asked.

Sergey sighed. “I was liquidated ten months ago. The official cause was the plant’s restructuring, but an old colleague higher up told me the real one. They’d determined that, for the purposes of proceeding into a post-Soviet future, it wouldn’t do to have such a walking, talking, daily reminder of the old guard. In a managerial role, even.” He chuckled. “I tried finding another job, but everyone took one look at me and doubled over laughing, sent someone to find a camera for a quick snap with their arm around the great man’s shoulders before telling me the position’s already been filled. What else can I do? I’m alone, no parents, no wife, so I come to Moscow. I drive a cab at night. The drunks think they’ve got delirium tremens when they see me. Who’d believe it was Lenin giving them a lift? Who needs a Lenin in these times?” He shrugged.

“I do,” Valentina said, and he looked up at her with those warm brown eyes. Valentina was the first to break their gaze. “Now, change.”

She ducked behind the brocade curtains, but instead of turning away, found herself compelled to watch. She gripped the velvet and leaned into a crack between the fabric. Sergey inspected the stack of clothing in his hands, rotated it slowly, then placed it on the dais and unzipped his sweat suit. Valentina had been expecting to see that familiar body, waxy and dessicated, so Sergey’s pale manly vigor sent a bolt through her. Yes, there was that ruddy chest hair, which made her palm tingle in recognition, the bare feet she knew so well flexing against the carpet. But this body was whole, living, pulsing with life and blood. Watching the muscles shift under his skin as he bent down to pull off his slacks made Valentina’s breath run shallow. This feeling brought a new awareness to her body, a trembling that made her heated with shame.

When Sergey finished dressing, she waited before slipping back through the curtains. The suit fit as if it were made for him, which she supposed it was.

“I need you to climb up here.” Valentina nodded at the empty black silken indentation where real-Lenin had lain just a day ago. Sergey eyed it reluctantly, then, hiking up his pant leg, he hoisted himself onto the raised platform. Valentina began arranging the heavy brocade covering over his feet up to his waist, as she used to tuck Yurik in at night, except here she was tucking in Lenin to his final rest, making him nice and dead again. Sergey lay still as she tweaked his collar and tie, arranged his hands in position on his thighs. His hands were warm and dry, making a comforting papery sound against her own skin. As Valentina smoothed back the hair on the side of his head, Sergey closed his eyes.

“Would you like to hear a joke?” he asked her. She expected some variant on a German, an American, and a Russian are shipwrecked on a desert island, but Sergey said,

“How do you describe all of Russian history in just one sentence?”

Valentina shrugged.

“And then it got worse,” he said.

She reached down into her bag and laid out the syringe, a bottle of rubbing alcohol and cotton balls, the small glass vial of cloudy liquid. “I’m going to give you the sedative now,” she said. She couldn’t decide whether Sergey’s agreement to the plan was a sign of immoderate optimism or terminal pessimism. Considering his life, she guessed the latter. Valentina inserted the syringe into the vial’s rubber stopper, flipped it upside down, drew back the plunger. The liquid swirled in hypnotic tendrils.

“Don’t worry,” she said, pulling up the sleeve of his suit and rubbing down the bulging vein in the crook of his arm with an alcohol-soaked cotton ball. “I’m basically a doctor.”

He was looking up at her with an expression she couldn’t decipher. As she touched the needle to his skin, he quickly placed a pausing, callused hand on hers.

“Say, after this,” he said, so quietly that she had to lean in close to hear, “would you want to get some tea with me? Maybe catch a play?” He looked more nervous about her reply than the  needle. Maybe she had him pegged wrong, she thought as she stared at him in confusion, as she stabbed the needle into his arm, as she pushed the plunger. Maybe he was, after all, an optimist.

“Okay,” she said, as his breathing deepened, the eyelids coming down like stage curtains, and there was Lenin proper in front of her, motionless and serene.

It was a possibility that hadn’t occurred to her, despite the heat she’d felt watching him get undressed. A life with Lenin, outside the mausoleum. But living bodies were deceptive, they changed. She imagined Sergey fatter, balder. Sergey, taken to drink. Having to watch him grow older than Lenin, deteriorate in real life. And here he was now, so trusting, so perfect, just her and Lenin’s body in the cocooning silence of the mausoleum. Dust swirled through shafts of soft electric light, and everything felt right again.

Valentina’s hands reached to arrange the silken pillow beneath his head. Then her hands slipped the pillow out from under him, gently, gently, laying his head back against the dais. And then her hands hovered the pillow over his face, brushed his skin with the black silk, stroked his face with it like a mother would touch the face of her newborn. That was another possibility, right there, and she found herself surprised that she was capable of it. Her hands placed the pillow lightly against his mouth and nose, then lifted it again after a moment, like a bee alighting on a flower. It was as if the universe had brought her this Lenin as a replacement for the old one, as a way of restarting, of trying again. The staff would come in after New Year’s and she would tell them, a miracle, comrades! I have solved it, I solved it for all of us. Everything is exactly as it was before. A deteriorated body could be disposed, there were ways of doing that. In this troubled time, many people went missing, and who would look for him? He had said it himself: no parents, no wife. If anyone did search for him, they wouldn’t suspect the body that’d been lying there for seventy years, observed by hundreds of people a day.

What loneliness it was, to choose.

“Statute four hundred and ninety two, Valentina Nikolaevna, deterioration of cultural relics, this is a serious allegation,” sighed the inspector from the Ministry of Culture, removing his fur hat and placing it on a ledge by the door. A sparse comb-over of white hair gleamed wetly in the dim light. “This isn’t how it used to be, you know. Everything used to be proper, by-the-book. Culture was respected, but now it’s all pell-mell, now who can tell what’s going on? It’s not polite, to have Vladimir Ilyich rotting and out on display, just not polite.”

“Goodness, who is rotting?” said Valentina, trying to keep her breathing deep and even. She smiled pleasantly. “A small skin fungus we didn’t catch in time, and someone noticed. We dealt with it promptly. Properly. Come, see for yourself.” She extended her arm like a tour guide to indicate the body on the dais.

The inspector straightened his jacket, cleared his throat, smoothed his hair. He ascended the two steps with difficulty, leaning on his cane. Valentina stood shoulder to shoulder with him, looking down at Sergey’s face.

“See,” said Valentina. “He’s no worse for wear.”

“My lights,” the inspector coughed. “He really does look quite lifelike. Quite lifelike indeed.” He leaned in. “You’ve done a tremendous job. Why, he looks like he just died yesterday.” He reached out a hand slowly, as though hypnotized. As his hand descended reverently toward Sergey’s face, in that gesture Valentina recognized a man unmoored, reaching toward a familiar past he could not admit he missed.

She quickly put a firm hand on his sleeve, catching his fingers just before touchdown. “Please, do refrain from touching. We suspect the fungal infection came from unprotected contact.” She knew that even an old, fumbling man would be able to tell the difference between a warm, pliant body and one dead for seventy years.

“Of course, of course. Protocol. Well done.” He wiped his hand on his trousers, then continued to stare down at Lenin’s face.

“Well,” he said finally. “Well.” Valentina heard a faint tremor in his voice and wanted to tell him, It will be okay. Maybe this time it won’t get worse.

The inspector cleared his throat. “No matter. I will confirm with the ministry that Comrade Lenin is as spry as ever. God grant such good health to us all.”

They shook hands at the door. He backed out of the room, wishing her a happy New Year, his gaze on Lenin to the last.

As the inspector left, it seemed to Valentina that he took all sound with him. There was a ringing in her ears. Valentina turned slowly toward the dais. Sergey’s profile glowed serene and heartbreakingly beautiful. She began to walk across the room back to him, every movement caught in thick light. Her shoes rustled against the carpet, the room swallowing sound. As she walked, a strange fear began to unfurl inside her at the sight of the perfectly still body on the dais, and the air transmuted. Reality became suspended, sealed in amber. Time trembled, a tangible curtain she could brush aside and walk through, and the body on the dais was no longer Sergey as Lenin, but Lenin himself, Lenin as he had recently died, so recently that no one except Valentina knew about it yet, or else Lenin as he had not yet died, as no one except Valentina knew he was going to die. As if she had finally succeeded in truly pausing time, preventing anything from ever changing. She sank down on the carpet, her back against the dais, and closed her eyes. She sat like that for what felt like minutes, hours. Finally, she heard a ragged inhale above her, a soft moan. She stood up, bent over Sergey, and touched his face. He slowly opened his eyes. Then he smiled, and it was the guileless, drug-drunken smile of Sergey completely, not of Lenin at all, and Valentina found that she liked it quite a lot. She brought her lips to his face, kissing his wide forehead, trailing her mouth down to the contours of his thin, pliant lips.

The inspector from the Ministry of Culture stood in the doorway of the viewing chamber, clutching the fur hat he’d forgotten and returned for, and watching Valentina and the corpse of Lenin hold each other tenderly under the shimmering peach lighting streaming down like heavenly approbation. Tears etched his lined face. For the rest of his life, the inspector never told anyone about the impossible moment he was witness to. On his deathbed six years later, the final crackling gasp of his mind recalled the image of Valentina’s reverently closed eyes as Lenin lifted a hand and softly cupped it against her cheek.

Ocean Vuong Refuses to Compromise

Spanning three generations of family history from Vietnam to rural Connecticut, established poet Ocean Vuong’s debut novel, On Earth We’re Briefly Gorgeous, is structured as a letter from the main character, Little Dog, to his mother who cannot read. As he remembers the nuanced complexities of a first young love and grapples with questions of race, class, masculinity, and survival, he reveals just how much joy and healing can still be found.

As a longtime admirer of his poetry, I was eager to hear about Vuong’s transition from poetry to fiction before we discussed how his debut novel examines violence and tenderness without flinching.


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Marci Cancio-Bello: I would like to begin with your memorable title, On Earth We’re Briefly Gorgeous. You also have a poem of the same title in your poetry collection, Night Sky with Exit Wounds. Was one somehow a catalyst for the other?

Ocean Vuong: Not really—I just liked the title. It’s one of those titles that does subtle yet persistent work, which I’m partial to when it happens. Although they are quite different to some degree, both the poems and the novel do contain my perennial obsessions: love, sex, death, loneliness, and the very specific terror of being young and helpless but full of impossible, brimming hope.

MCB: Because of the lyric leaps and braidings of the narrative, the novel makes many poetic movements and allows readers slow down to savor your rich language and image-making while holding onto these characters with deep investment. I think it was in 2017 that you published a poem in Harper’s called “Dear Rose,” which reads almost like an early draft of the novel. What prompted you to switch from poetry to fiction, and how was this genre different for you?

Both the poems and the novel contain my perennial obsessions: love, sex, death, loneliness, and the very specific terror of being young and helpless but full of impossible, brimming hope.

OV: The poem, “Dear Rose” was actually me attempting to switch gears while writing the novel. I always believed our obsessions, questions, and interrogations to be inexhaustible. But things get tricky inside capitalism. We tend to see themes as products: once we produce work around them, they should be “done with” and therefore abandoned; we should then “move on.” Otherwise we would repeat ourselves. A culture bent on “fresh new flavors” frowns on obsession, which is misread, particularly in the western lens, as stasis and therefore death. But it’s arbitrary that any book should be an ultimate container for its investigations. So I wrote the poem in Harper’s to check in with myself, to be certain that I could still find a potent resolve within another form, and that the novel, already in its third draft by then, was not the master of those set of questions—but merely an alternative route.

The process was different in ways you would expect. The novel is longer, larger. But what I wasn’t prepared for was what came with size: haunting. Unlike a poem, which I would usually draft and put away, then go back to doing the dishes with relative calm, etc. The novel, the more you build it, the more it enlarges on your periphery—like the slowest nightfall—until you can’t do anything without seeing it darken the corner of your eye: an entire world you made getting larger, garnering its own frictions, weathers, velocities. I was haunted by fiction. If I knew how hard it would be, how total, I don’t think I would’ve done it—honestly. But now I have this set of idiosyncratic skills related to novel writing. So I hope, godspeed, that I’ll be able to use this skill at least one more time before my life is over.

MCB: Throughout the novel, violence seems like a form of intimacy (not love, necessarily, though often they overlapped). Early on, Little Dog writes, “What I really wanted to say was that a monster is not such a terrible thing to be. […] To be a monster is to be a hybrid signal, a lighthouse: both shelter and warning at once.” And immediately afterward: “Perhaps to lay hands on your child is to prepare him for war.” And later: “By then, violence was already mundane to me, was what I knew, ultimately, of love.”

Tenderness, on the other hand, feels more violent to him than violence itself. When describing the way calves are prepared for slaughter and veal, he writes that they stand “very still because tenderness depends on how little the world touches you. To stay tender, the weight of your life cannot lean on your bones.” This echoes this haunting line from earlier, when Little Dog is with his first love: “Sometimes being offered tenderness feels like the very proof that you’ve been ruined.” Can you speak to the way these two forms of intimacy frame the novel?

The novel is one of the mediums where bodies can be tested through love and violence, through tenderness and hurt.

OV: I think, if nothing else, I wanted to write a novel because I needed explore how certain actions change people (characters). I didn’t want to let them off the hook—and did not want myself, as a writer, to be off the hook in turn. The novel, then, is one of the mediums where bodies can be tested through love and violence, through tenderness and hurt—but what’s more, and perhaps most importantly, it offers the scope of an aftermath, the camera cannot pan away, the page, turning, only offers more of the world, rather than erasing it. I found this expansion both helpful and challenging in my ultimate attempt: which is to complicate the line between violence and tenderness, which felt true to my experience as a person in the world, in history.

Even the way we talk about love, our euphemisms for sex, for example, are full of possession and devouring: I could eat you, you look good enough to eat, you’re a snack, meal, sugar, honeybun, baby cake, eye candy, smash her, smash him, bang, bag, own, lock her down etc. I wanted the novel to examine those linguistic ties already found in our collective imagination and enact them into detailed lives, mediated by time and gravity. In other words, I wanted the novel to be a faithful dramatization of the American psyche. Or, perhaps even more so: a dramatization of faith, not religious per se—but the faith of desire despite the body’s limitations.

MCB: Despite the many forms of trauma, abuse, and war that reverberate through each generation, none of the characters, particularly Little Dog, come across as bitter or furious (though they have every right to be), which is astonishing in the best way. Anger gives way to a more complex way of survival and risk via Simone Weil’s “perfect joy,” and beauty, and I loved the moment Little Dog says, “The thing is, I don’t want my sadness to be othered from me just as I don’t want my happiness to be othered. They’re both mine. I made them, damnnit.” Can you talk about writing joy and beauty to the forefront rather than anger?

OV: For as long as I could remember, I have always been suspicious of anger. When I was about 12 or 13, I saw a boy, about 15, urinating in the middle of a park. It was early afternoon. He had a pistol pointed to his temple—this was back in Hartford. I remembered the gun clearly because I thought to myself how much it resembled the one James Bond used (Walter PPK). The boy was crying, urine leaking through his basketball shorts. He owed somebody money. He was in the middle of a basketball game when the other boy—maybe 19, 20—confronted him. The boy with the gun ran right into the game so fluidly that, for a moment, it seemed he was a part of the fast break, so it was a surprise to everyone when the gun came out.

I think of that image: the boy, the gun, the pool of urine widening between his Air Force 1s. That moment was charged with fear and anger—and I think it imprinted in my spirit how corrupt those energies are. They are, indeed, energies; force. And like all energies we can use them to get things done (collect a debt, retaliate injustices, bomb a country, etc), but unlike all energies, anger exhausts as it creates, and it has the power to extinguish even those—or especially those—who wield it. But anger is also an American ideal, it is one of our oldest relics and I suppose my attempt at art making is to ask—what else? Are there other energies to see and live and make by? Can I use a force more sustainable to myself, those around me? Can I possess a way of thinking that regenerates instead of destroys?

The gun, the almost-Walter PPK, turned out to be fake. It was only a lighter in the shape of death. But the fear was real. The damage was done. The other day, I yelled at my dog when he ate something he wasn’t supposed to. He was so scared he peed on the carpet. I felt so awful I nearly had a nervous breakdown. I fed him, like, two boxes of treats in a span of 8 hours. Anger is not an intelligent praxis for me—and clearly neither is guilt.

MCB: You set up the novel with an epistolary framework, which lets the story unfurl as if we are eavesdropping. Yet from the beginning the speaker admits that because his mother can’t read in English, “the very impossibility of your reading this is all that makes my writing it possible.” In attempting to close distance, Little Dog expands it. The narrative spirals like history, characters wish they could press themselves on the page like words, a scar becomes a comma and a mouth becomes a period, and language itself fails when challenged. This line in particular resonated with me: “But by writing, I mar it. I change, embellish, and preserve you all at once,” which echoes the refrain: “Memory is a choice.” Certain lines read like an admonishment on the craft of writing. Would you say more about the novel’s structure and elements of craft advice incorporated into the novel itself?

OV: When I was younger, I used to go, whenever circumstances allowed, to Sunday service at the Baptist church in my neighborhood. There I was introduced to the story of Noah’s Ark. I was so enamored of that narrative—and I think, even now, it informs how I create. The pressure for Noah was so extreme, so grand, it seems comical to look at it as a method for making anything. To think: you must build a vessel worthy of ferrying into the future everything you think will be necessary after an apocalypse. It’s a tall order—but it’s always in the back of my head. And I think I ended up asking that in both the collection of poems and the novel: what do I want to salvage of myself for a future I might not survive?

What do I want to salvage of myself for a future I might not survive?

It seems an incredibly grandiose notion—and it might very well be—but I think it’s important to actually present those stakes to ourselves, if only to challenge our craft to meet them. If nothing else, it tricks you into leaving only the very essentials in your writing, the things you’ll need to start a new world for yourself. When I was in grad school, a professor made me feel really shitty about having ambitions larger than publishing a poem here and there. He felt having hopes beyond a literary career, that is, having your work live and negotiate with a larger world—was fraudulent. I believed him for a while—but upon looking at it further, it became clear to me that the performance of humbleness—that is, empty humility—was more fraudulent. Writing then, became an accessory to a self—not a vehicle for selfhood. What we do, as writers, is hard but it’s not coal-mining or being a nail manicurist. It is a choice we made, and we made it in hopes of getting so close with language that something breaks through, something tears from the esoteric into the mundane. I think it’s okay to be honest with ourselves and ask for that. There is nothing to be embarrassed about hoping your work—this thing you work so hard on—has larger ramifications. You don’t expect it to, of course, but you should allow yourself that dream. You load your words into your Ark because you believe they can save you—and why shouldn’t they?

What I love about Moby Dick, for example, is that the novel becomes Melville’s Ark. It’s memoir, auto fiction, essay, theological, biological and metaphorical inquiry, as well as a very comprehensible yet poetic manual on whaling. He chose to compromise nothing in order to load his ship, literally. The scale of the project does not resemble the scale of other patriarchal tomes like Tolstoy or Dickens, it enlarges via inquiry, even if those queries run into dead ends. In this way, Moby Dick is not so much a novel, in the traditional sense—but a map of investigations in order order to answer questions beyond the reach of any one milieu.

Anyway, it felt important to me, as an Asian American writer, to not compromise, to refuse the decree of plot and veer, meander, detour, circumvent, queer and complicate, actions of which, in western criticism, are often seen as failures in narrative—but I feel, have always felt, are the very means of which I have built my life. To be lost, then, is never to be wrong—but simply more.