Dissertations Never Die

The Archivist

by Mukhtar Magauin, Translated by Mirgul Kali

I ran into him on a street. We live in the same city, but it’s been over a year since we saw each other last. He looked the same. Not the same as in the last year. Or the year before that. The same as in ten years ago, when we were graduate students. A felt hat, pulled low over his forehead, almost down to his eyes. Black and white scarf, sloppily tied around the neck. Light fall coat, tapered pants, shoes with thick soles. Black leather gloves, held loosely in his left hand. Fashion styles came and went; seasons replaced each other, but Sembek never changed his ways. In fall and winter, rain and snow, he looked exactly the same. And it wasn’t just clothes. His appearance, personality, even his knowledge and intellect — did not seem to have changed a bit.

I knew from the first day we met that he was an extraordinary young man with a brilliant future awaiting him in academia. He was twenty-two when he graduated at the top of his university class with a major in history and was accepted into the university’s graduate program at the Academic Council’s recommendation. He was equally fluent in both Russian and Kazakh and knew German and English well. He was studying Farsi and Arabic at the time and had plans to move on to learning Mandarin Chinese next.

I was also in my early twenties. I was also among the top students. I was. . . In short, I was very proud of my own achievements at the time. But it didn’t take me long to admit that Sembek was far superior to me; that he was a true scholar. Admittedly, our studies were in different fields, and language ability cannot be equaled to an aptitude for science. But it wasn’t Sembek’s comprehension that impressed me; it was the depth of his knowledge. His erudition was limitless and unfathomable. After a while, I refrained from speaking about philology, which was the subject of my studies, in his presence. And I wasn’t alone — all graduates in our dormitory held Sembek in high esteem. We had no doubts about his completing studies well ahead of the time; we knew that he would be the first among his peers to secure his doctoral degree.

Youth is the time when emotions reign supreme. We meet people easily and fall for them readily — only to find ourselves detesting and avoiding them later. A year, then another went by, and we became skeptical of Sembek’s singular ability. Well into the third year, we realized that he was not only an ordinary man but, in fact, a lesser intellectual than many of us. In all this time, he passed just two of the qualifying exams. He hasn’t published any research articles; he hasn’t even begun working on his doctoral thesis. Did he lose interest? Hit the bottle? Take to partying? No, no and no. He spent days and nights in libraries and archives. Traveled to Kazan twice, and once to Moscow and Leningrad each, to gain access to the local records. However, nothing came out of it. Finally, when most of his schoolmates who had finished their studies and defended their dissertations were leaving the school to start tenures at various universities and colleges, Sembek passed his last exam, received a piece of paper about completing the graduate coursework and got himself a job as a clerk at the Central Archive.

Although Sembek and I were not close friends, we kept in touch; when we came across each other, we always stopped to say hello. We inquired about each other’s life, family and work. To be precise, I stopped and greeted him, and he asked questions. Out of arrogance or absent-mindedness, he wouldn’t recognize me even when I came right up to him; only after my greeting would he look at me, startled as if he were just woken up, and grab my hand. He would then go on to interrogate me about my wife’s job, my children’s health, progress on my research — it was as if he was checking these questions off some list in his mind. I didn’t dare ask him similar questions. He never married, so he had no children. He hadn’t completed his dissertation, so there couldn’t be any talk about a doctorate. I attempted to ask about it a few times, then quit. It’s hard to talk to loners and castaways. Misfortunes and failures turn them into very sensitive people. It’s even more difficult if we knew these people when they were starting out. Sooner or later, we meet and talk, and questions are inevitable. We have achieved something, and they have made nothing of themselves. They imagine that we despise them, so we get stuck between a rock and a hard place.

However, it’s somewhat easier with good acquaintances: over time, we learn what to say to them at any moment and what subjects to avoid. I came to know Sembek a little in the last ten years. That day, as we proceeded to shake hands, mention how long it was since we saw each other last, and exchange usual questions about health and life, I saw that my recent impression was wrong — that there was a notable change in Sembek’s appearance. He looked paler than usual. His thin, delicate lips seemed firmer, and the right corner of his mouth curled in a sneer. His slim nose looked sharper; his eyes were blank; a deep furrow between dark, thick brows extended into the forehead, almost cutting it in half before it faded. He didn’t offer regular questions about the health of my wife, whom he had never met; the languages my children, who hadn’t yet started school, studied, and careers they were interested in. Holding my hand tightly with his thin, bony fingers, he paused and looked intently into my eyes as if he wanted to tell me something. I waited to hear some important news, but Sembek didn’t say anything. I looked at his grim face and realized that his mind wasn’t here — it was presently in some strange world, another planet; he even forgot that I was standing before him. As if taunting me, Sembek gave out a random chuckle, his thin nose scrunching in a hideous smile. Still, his mind was elsewhere.

“How is your health?” I said at last.

“What?” His body gave a shudder that startled me.

“You lost weight.” I made an attempt to free my hand from the iron grip of his fist.

“Old Samet passed away,” he said.

Must be someone close to him, I thought. I expressed my condolences.

“No, we were not related,” Sembek said. “You know him. He was one of the archive administrators. The one who used to limp on the right leg.”

I did know him. A frail, sallow little man who always looked askance at people as if measuring their worth against his own.

“But didn’t he die a while ago?”

“Correct,” he let my hand go at last. I had no idea he had this much strength, scraggy as he was. “When we were in graduate school. Today is exactly seven years, nine months and twenty days since his death.”

His words sent a chill down my spine. There were rumors among the fellow graduates that Sembek had been studying so hard that he had gone nuts. I didn’t believe the rumors, but they gave rise to a vague sense of disquiet within me.

“He was afraid of me,” Sembek said. “He knew he would lose against me. That’s why he covered his tracks. Yet I have already done enough work to match his efforts. He was a great scholar, and I left him behind… There are many places that he was not able to get to. And I will get there. Do you know what places I am talking about? The library of the Istanbul University is one. The Topkapi Palace. Then there is the British Museum . . .”

I gave a nod of acknowledgement and prepared to leave.

Sembek grabbed my arm and, after taking a moment to carefully examine my face, burst into laughing.

“By God, you’re thinking that I am drunk or delirious! Wait, you must have believed those people who say I turned into a madman.”

I told him that he was wrong; that I was in a hurry to get to a library and had no other thoughts on my mind.

“Whatever,” Sembek cut his laugh short. “Let people think what they want; I don’t care. But you’re my old friend, and I want you to know. You must know. Who I am and what I have been doing all these years. I will walk with you to the library. My story shouldn’t take more than ten minutes.”

You remember how good I was when we started the graduate school. Everyone expected me to go on to accomplish remarkable things. I, too, have never doubted that I would ascend to the Hall of Fame of Science, and that it would only take me a couple of years. I had knowledge, intellect and energy for that. Half an hour after I had been accepted into the graduate program, I was at the archives. I was in a hurry, great hurry. I ignored weekends, skipped parties, stopped going to movies and theater. Worked fifteen to sixteen hours a day. And you know of my ability to accomplish in one hour a task that would take others five hours, five days, even five months to finish.

I realized on the very first day at the archive that I was being watched. Nothing escaped my follower’s attention: what I was doing, what files I was looking at, which page I was reading, what part of a document I was copying. Squinting his old dim eyes, he would throw a single glance from afar or walk past without so much as turning his head, yet I had no doubt that a few seconds were enough for him to gather all the information he was looking for. At first, I was puzzled; then, amused, finally, irritated by this routine repeated day after day, month after month. There wasn’t a trick left that I hadn’t tried in my attempt to throw him off my back, even to cause him grief. I requested files that were of no use to me and kept many different binders open in front of me, but he always knew exactly what I needed, what I searched for, and what I found. You know how research at the archive goes. There are days, even months of fumbling around to no avail; then there comes a day when you find a treasure trove of material worth a year of research. Well, the old man was nowhere to be seen on my dry days. Absent. But as soon as I hit upon something useful — oh, wonder — he would be immediately found near my desk. I began suspecting that this puny old man had psychic abilities.

Toward spring, my efforts bore fruit. I discovered a rare, previously unpublished record related to Kazakh history. The document was bound to be immediately accepted for publication and would make me an instant celebrity in academia. In those days, I was, like many young people at the offset of their scholarly careers, arrogant and vain. I sought to be recognized, to excel. I was confident that I would make groundbreaking discoveries that would establish my fortune and take me to the top. My findings, therefore, were not altogether surprising to me. Still, I was very happy. I studied the record carefully. Made a photocopy. Transcribed the most important parts of the text. Wrote a brief commentary. Everything was ready for the publication. On that day, I also came to finally face the old man who had been watching my every move.

In the last few days I noticed him circling around my desk and once even stopping to look at what I was doing. However, I became so accustomed to his presence and was so engrossed in my work that I didn’t give it much thought. I had finished my work and was heading out of the archive building when I saw the old man waiting for me at the door. Until this moment, he never approached or uttered a word to me. I didn’t even know who he was and what he did. The moment I decided to walk past him, he held both hands out and said courteously, “Assalaamu Alaikum!” This past year, even when our eyes met, we never greeted each other. Today, we had spent all day in one room and had not once given each other a nod of acknowledgment. Indeed, it was ironic. I accepted the elder’s greeting, but I felt embarrassed for failing to follow a custom that required a younger person to initiate the salutation. We were not acquainted, but we were aware of each other’s existence, and in the last six months, I hadn’t shown him a single sign of recognition. I imagined that the old man was there to reproach me.

That would have been a better outcome, but the old man started a conversation on a different subject.

“You accomplished a lot this week,” he said. “Congratulations. You happened upon a very important record.”

I fell silent. I immediately felt regret for being foolish and letting the old man approach me.

“What do you plan to do next?” he said. “Will you publish it?”

“Absolutely,” I replied and started toward a bus stop. I was determined to escape the man, but he hurried after me, limping on one leg until he caught up with me and blocked my way. I became angry.

Aqsaqal, how may I help you?” I said.

“Please stop first,” he answered.

I stopped.

“Say what you have to say, then stay away from me.”

“I beg your pardon, beg your pardon . . .” the old man panted. “However, you have no right to speak to me this way. I am an academic, just like you. And I am older. Where is your respect for elders?”

I apologized and told him that I had to go.

He ignored my last words. As if afraid that I would escape, he grasped my shirt with neat pale fingers with long fingernails, drew his face close to mine and peered into my eyes.

“Are you certain that you are the only person who knows about this record?” he said pointing at a briefcase in my hand. “Would you state under an oath that it is you, and only you, who first discovered it?”

I had to think about it.

“Aha!” said the old man. “No, you couldn’t do that. Because this is a record that had already been discovered.”

“When and where was it published?” I asked. I knew it had never been in print, but a sinking sensation in my stomach didn’t go away.

“It has not been published anywhere.”

It suddenly dawned upon me.

“You? Did you find it first?”

“Exactly,” he said proudly.

He drew himself up and crossed his arms in front of his chest. Biting his bottom lip, he grinned and squinted his small brown eyes.

“I see,” I said. “You found it last night. I shouldn’t have let you come near my desk. I was being respectful.”

He shook his head.

“You have a quick temper. Not a virtue Kazakhs are known for. But I understand and forgive you. However, you will have to take these words back. You will see what I mean. Let’s go to my house.”

I hesitated for a moment, then followed the old man.

He lived in a single room in a communal apartment with a shared kitchen. The first thing I saw when a door to the room opened were neat stacks of newspapers laid all the way from the entrance to the back of the room to form a floor runner. Five, ten layers, possibly twenty, even thirty layers of newspaper sheets. It looked as if the new sheets were placed on top once the old ones had been worn out. Otherwise, a couple of pounds of newspaper material would be required to replace the entire thing at once. Indeed, as soon as the old man took off his rubber-soled felt boots, he pulled out a rolled newspaper from a pocket in his coat and began laying the sheets on the floor. He used four full sheets placed lengthwise to cover the distance from the door to a window.

“Please, come in,” he said as he completed his task.

I left my shoes at the door, entered the room and looked around. There was a chair with a wire-wrapped back and a small, once-painted, table in the corner by the window. A long narrow iron bed stood along the right wall. The rest of the wall space in the room was occupied with floor-to-ceiling book shelves. However, I couldn’t spot any books on the shelves. Instead, there were rows and rows of neatly arranged binders: made of regular cardboard and cloth-bound; large and small; fat and slim; blue, gray, brown and red; discolored and disintegrating; binders of unknown age and origin.

The old man offered me the only chair in the room and fetched a thin folder with a blue leather-cloth cover from one of the shelves by the door. He turned away from me and skimmed through the papers in the folder until he found what he was looking for.

“Here it is!”

It was a photocopy of the document I had found in the archive a week ago. Six sheets of paper which instantly turned the last six months, not just the last six days of work, into waste.

“I was insulted as an individual and as an academic with your earlier accusations,” said the old man. “That file has been in your possession all week. When would I have the time to make a copy? However, you do have a right to be suspicious — I happen to work in the archive.”

This was news to me. I had no idea that he worked in the Central Archive where I went every day.

“I could, of course, carry out my evil plan in the after hours. But look at this paper! Does it look new to you? It’s turning yellow. Then again, I could have intentionally used old paper for copying. You have a right to think whatever you want. However, my dear fellow, you are perfectly aware of the archive rules. Check their register to find out who had access to this document and when. It was you and I. Only two of us. The date shown next to your name is April 4 to 10, 1963. What date, you think, is shown next to my name? March 7 to 25, 1956. Seven years ago. I discovered it seven years ago! Here, I said it!”

I was crushed. I had nothing to say. I didn’t even offer an apology to the old man.

“Why didn’t you publish it then?” I said, finally admitting my defeat.

“I didn’t have time.” The old man gathered the sheets and placed them back into the folder.

“No time in seven years? But this is such an important document — ”

“Trust me, my dear friend.” He patted me on the back. “This is nothing. Nothing. I am not saying it’s worthless. It’s valuable. A very important document. But, as Shakespeare once said, ‘There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.’ The same idea applies to history. Especially to the newly burgeoning Kazakh history. Why worry about a drop when there is an ocean?”

“Do you mean that you haven’t done any research and haven’t written any articles? Not even a summary of your findings?”

“No.” He stood with his arms crossed at the chest clutching the blue folder as though it were the only child of an affectionate father.

A glimmer of hope emerged in my heart.

“It’s true that you were the first to find the document,” I said. “But you haven’t made it public. Nobody knows that the document exists, and that you are the person who have unearthed it. Seven years passed. Then I came upon this document. Without your help. By myself. Correct? Would you agree with this statement?”

“Certainly, certainly.”

I felt reassured.

“Well, you haven’t found the time to publish the document. All you are aware of is the nature of the record and its location. You haven’t made any notes about it . . .”

“Go on, say it.”

“What I am to say is that I wrote the article you didn’t have the time for. I offered various interpretations and made objective conclusions. The article was the result of my work.” The old man made a gesture as if he wanted to say something, but I didn’t let him speak. “My work. No one will argue that. However, since you were in fact the first person who knew about this document, I am willing to offer you a proposal. Here, take my article and read it. Let’s see if you have anything to add. If you propose changes to the article, we will discuss them. I doubt that the article needs any revisions though. Reading it closely might be enough. Then sign it. The article will be published jointly.”

The old man’s laugh was disturbing. Clutching the blue folder as if it were in danger of being taken away from him by force, he returned it to its place on the shelf and shut the glass door of the book cabinet.

“No!” He clasped hands behind his back and began pacing up and down the paper floor runner, his feet in socks making rustling noise. “No! No!”

“Why?” I said rising from my seat.

“I can’t put my name under someone else’s article.”

“Then write your own article. We will combine our arguments into a single article.”

“I don’t have time,” the old man said. “I . . . I . . . don’t want to write.”

“Fair enough. I will publish my own article.”

“You have no right!” he shrieked. His voice was so loud and thin that it almost split my ears.

“Why?”

“I found it first.”

“And I say that I was the first.”

“You know that is not true. You saw it. Didn’t you see it just now? I proved it to you a few minutes ago. I found it, buddy. I did.”

“How are you going to convince others? Who will believe that you have kept the document to yourself for seven years?”

The old man fell silent. With his shoulders slumped and the head sunk, he became very small.

“If you choose to go through with your selfish plan, there is nothing I can do. But you — ” The old man grasped my collar with those thin, bony fingers again. “You are a sensible and educated youth. I am not trying to win you over. I have watched you for the last six months. I know that you are a gentleman. Tell me, would your conscience, of an academic and a man, allow you to trample over me as if I were some bug and publish your name along with this document? Sure, the law will be on your side. But what about ethics?”

The old man’s words made sense. Even if I did find the new record on my own, my conscience would not allow me to publish it without a consent of a man who had found it first. But I’ve made up my mind. I gave the old man two weeks to write an article. If he produced it, we would publish the article with both our names on it; if not, I would proceed alone.

That was how I met the old archivist Samet. And that was how two of us were yoked together to draw one wretched cart.

Young people can be unkind, ruthless. Samet was an old man with poor health and heart problems. Now that I think of it, I realize that my actions may have exacerbated his illness and led to his early passing.

In the following days, I placed several requests for archival records which promised to contain important data. However, the records kept turning up unavailable due to being rebound, restored or repaired. I remembered that Samet worked in the archive and became suspicious.

I decided to cut to the chase and went directly to the archive management. All documents in question were found intact. Old Samet was reproached for withholding materials in demand, and I went to a reading hall carrying a heap of dusty thick folders. After this event, Samet made it a habit to meet me outside of the archive building at the end of each day. My heart sank every time I saw him. I didn’t want to believe any of his words, but there was no reason not to believe him. In any case, I refused to visit his place again. I tried not to let him speak.

“Is the article ready?”

Samet’s chin twitched, but he didn’t respond.

“Right,” I said. “You have three days left.”

Three or four days later we met at the entrance again.

“Did you bring the article? All right. I am giving you a five days’ grace. Not because I am sorry for you. I simply won’t have time till then. I found many new records. That document is nothing compared to the new ones.”

We met five days later.

“Seven more days. Not out of respect for you. I am simply too busy. I found a few important things today. Wait and see — this is just a tip of an iceberg. I will leave no paper in this building unturned. Six more months, and there will be nothing new for researchers to find in this place. Goodbye. Don’t forget the article.”

I was merciless. I cared neither about his age nor about his health.

He endured. In the fall, when all material for my dissertation was ready, he invited me to visit his place once more. By then, uncertainty eating away at my heart had become unbearable. I accepted his invitation. I knew that some of my new findings would turn up in his collection. Remarkably, however, all the treasures I had spent an entire year gathering one by one were found on his shelves. Samet had it all; Samet knew about it all.

I felt too weary to be surprised or upset. My head hurt; it was as if my scull were splitting apart. I was close to losing my mind. But I persisted. I sang the same old song. He chanted the familiar refrain in response. None the less, the truth was simple and clear: I lost, and he won.

Obviously, I could have still written my dissertation. Nobody would have prevented me from doing it. A research paper based on the records previously unknown to public would not only earn me a plain old Ph.D. degree but would also bring me recognition, even fame, and would have naturally led me to a professorship and fruitful career in academia. But none of the data I gathered were untouched or new. The data has already been found, discovered, copied, and transferred to paper or microfilm. It was difficult news to accept. But that was the truth.

I lost interest in life; I wished to be dead. Still, I believed in myself. I believed that I was a genius, that I was special. That I was destined to withstand cruel twists of fate, life’s blows and storms and go on to accomplish remarkable things. Yes, remarkable things. It was my duty. Death was not in the cards. I had to raise my feeble body off the ground and continue to live.

I chose another subject for my research. An excellent subject on a very important issue. I had to look for data outside of Kazakhstan — in Moscow and Leningrad, in confidential archives of the Ministry of Foreign Affairs and the Collegium of Internal Affairs of Russia. I spent all winter working. The past year had gone to waste; to make up for the lost time I worked days and nights. I didn’t have time to analyze and summarize gathered material; I resolved to look at all of it later and just kept collecting any potentially useful information. By the summer, I had two large suitcases filled with paper, photos, and microfilms — decent amount of material for a solid doctoral dissertation. I packed it all up and got on a train from Moscow to Almaty.

The train reached Almaty around midnight, with three-to-four-hour delay. I grabbed a taxi and headed to old Samet’s place with my suitcases. He was in bed, but he got up and put on some clothes. He looked ill. Hollow-eyed, with sunken cheeks, he was all skin and bones. Yet he seemed taller than usual. I was anxious, but I hoped that this time the old man would have nothing to show me. I was wrong. Old Samet was aware of the information I had gathered. He went on to retrieve files from one shelf, then another; photographs, Xerox copies — piles and piles of them. He didn’t have all of it, but what he didn’t have was less important, second-rate, mere crumbs. I couldn’t restrain myself any longer and broke into sobs.

The old man tried to comfort me.

“Don’t worry. There are stamp collectors who chase a single stamp all their life and never get hold of it. That stamp simply belongs to another person. They must purchase or exchange it for another stamp. But our work is different; we can do whatever we want, and we decide how much we want to accomplish. Nobody can stop us, and that’s where we have an advantage.”

As if to make sure I stayed put, he continued cheerfully:

“You are an exceptionally talented young man. In twenty months, you managed to do what had taken me seven years. You have a lot of energy. I had spent all my life combing archives. Look at these shelves — the result of forty-two years of continuous work. With your pace, you will be done in fifteen to sixteen years. You will be thirty-nine by then — a whole life will still be ahead of you! You will leave me far behind. That is the truth. This is your era.”

He said many other nice, encouraging words. What was their use after he had taken everything? But old Samet was a good, decent man. He didn’t place demands on me this time.

“If you feel you can’t go through this, then you are free to quit this game. Go ahead, publish and defend your dissertation, only mention that I was the one who found those documents. I will not stand in your way.”

He had never stood in my way. As I said earlier, moral implications of the matter aside, there was nothing illegal in my publishing the documents. But I declined his offer. I found myself disinterested in the current subject of my dissertation. I felt like a man who discovered that his pure, beloved wife had slept with a filthy old man. I apologize for my vulgar comparison. That was how I felt. I threw all my previous work away and decided to take on a new subject.

It was now the third year of my being in the graduate program. The third subject. My professor was very unhappy. He reproached me and tried to persuade me to complete the dissertation, but I was firm about my decision. He was fond of me, poor fellow. He had faith in me and finally chose to go along. Using his influence, he convinced the Academic Council to let me begin new research. Two days later I left for Kazan.

The city of Kazan is one of the cradles of Turkic civilization. “Oh Kazan! Joyous Kazan! Somber Kazan! Radiant Kazan!” If you only knew, my friend, of all the treasures that city holds! It’s brimming with them. Overflowing. I found myself right in the middle of that abundance. This time, however, I didn’t limit myself to a single subject. I grabbed every piece of paper that had not been seen and used by others and threw it into a pile. All that fall and winter I felt as if I was swimming in a vast, endless sea, rousing and stirring its depths.

I returned to Almaty in early spring. Not because my work was done. I had to speak to my thesis adviser, and, to tell you the truth, I wanted to see old Samet. In fact, it was the main reason for my return. But there was an unhappy and somber news waiting for me: Samet had passed away.

He left a note for me — a piece of paper that contained two sentences in sloppy, slanted handwriting: “I have everything! I have it all!”

I believed him. I didn’t doubt his having copies of all the records I had spent gathering that year. Still, I wanted to see them. I inquired a neighbor about Samet’s personal library. Samet had apparently passed his possessions on to a relative who lived a block away from his place. The relative, seeing no use in Samet’s stuff, took it to a thrift store. The shelves, that is. As for the binders, the neighbor wasn’t sure. He told me that the shelves were empty on the day of the funeral. Before his death, Samet spent several days destroying — burning, shredding, throwing into a nearby canal — all his papers. Then he wrote the note for you, he said. I had to take him at his word.

You might think that losing a rival would bring me relief. No. On the contrary, I wish he were alive. I have no certainty these days. I don’t know if a rare item I come upon has already been in Samet’s hands. I can’t claim that I am the first to discover any record I find. I had suicidal thoughts — for the second time in the last three years. But only devil has no hope, and I still believed in my great future. I didn’t die. I couldn’t die. I reminded myself that even old Samet’s lost collection had its limits. It’s impossible for one person, even a genius, to gather the complete information of one nation’s history, art, and literature. I will not be able to have it all either, but I knew I was more efficient and better equipped than Samet. As he said, it would take me fifteen to twenty years to gather the amount of data he had collected in forty-two years.

I gave up everything to reach this goal. You all married, bought houses, had children — and I have none of that. You all finished graduate school; the brightest of you have gone on to pursue doctorates — and I don’t have a single academic degree. But I am the happiest of you all. I am better than you all. While you were chasing superficial titles, I accomplished a lot of work. I have a treasure trove of data! It’s been only ten years since I started my work, yet I have gathered so much material. Yes, in the next five to six, no, three to four years my collection will catch up to old Samet’s. In volume, that is. As for the quality, it will easily surpass his. But I won’t stop there. I will go further. There are still many mysteries to uncover. Just think of all those invaluable records buried in the world’s archives! If only I could spend a year in Istanbul and London each . . .

By the time Sembek ended his story, we reached the Central Library. I was dismayed; I didn’t know what to think or say.

“This is all great,” I said at last. “But why don’t you make these documents public? Why don’t you write about them?”

“There is no time for that, my friend,” said Sembek. “I am too busy gathering data. I am very close to reaching my goal. I need seven or eight more years, ten at the most. Then I’ll get to writing.”

I wasn’t satisfied with his response. “What exactly are you looking for? What did you find in those records?”

“Everything!” said Sembek. “I don’t even know what my specialty is these days. Supposedly, I am a historian. On top of that I am a literature and art researcher, a folklorist and an ethnographer. I have to wear all these hats because I have everything.”

“What is it that you have?” It occurred to me that he might be making fun of me.

“I have been following your writing. You seem to have some knowledge on various subjects,” my friend said. “Here, tell me what type of relations Russia and the Kazakh Khanate had in the early sixteenth century?”

“Well, during the reign of Qasim Khan there were diplomatic relations between Kazakhs and Moscow,” I said. “But we don’t know the specifics of these relations. The records on this matter were lost during the fire — ”

“The Moscow fire of 1812. Along with the original manuscript of The Tale of Igor’s Campaign,” my friend said with a sneer. “There were no planes. No modern artillery. You know how the evacuation proceeded, and who set the fire and when. Which means that these important records could not have simply disappeared.”

“Did you find them?” I asked.

“The correspondence on this subject, written entirely in Kazakh language, was extensive,” said Sembek ignoring my question. “You must understand how important this is — not only for history of our country but also for our culture.”

“Where are they? Did you really find them?” I began losing my patience.

“You must have heard about the Kazakh Sultan Oraz Muhammad Ondanuly who was in charge of the town of Qasim in Ryazan province during Boris Godunov’s rule.” Sembek continued as if he never heard my question. “But do you know that Oraz Muhammad had a splendid library which contained not only works by Arabic, Persian and Turkic scholars but also Russian chronicles and books? What happened to that library? In eighteenth century, a history of Kazakhs, requested by Abylai Khan, was written. Where is that history?”

Sembek kept throwing such rhetorical questions at me until I became quiet. He didn’t respond to any of my earlier inquiries.

“All right,” he said at last. “I took your time with my prattling. Time to say adieu.”

I didn’t like being made a fool of, so I didn’t let him go. I realized that direct questions weren’t working and decided to take a different approach.

“Where do you work these days?”

“Same place,” Sembek yawned.

I was so distraught I couldn’t remember where Sembek worked.

“You look tired,” I muttered. I searched for words. “You need to get some rest.”

“I don’t feel tired. One is never tired of the work he loves. No, I don’t feel tired at all.”

He threw a couple of quick glances around him and asked me if I knew a certain young man. I did — he recently published a couple of excellent articles on Kazakh folklore. If I remember correctly, he had uncovered an unknown version of an ancient heroic epic — a version which was finer and older than the ones already available.

“A shitty guy,” said Sembek. “I invited him to my place and showed him my possessions. Cautioned him. He had no right, no moral right to do it. But young people are disrespectful these days. They don’t listen and don’t care. He went ahead and published it. He spends every day in the archive lately. I’ve been watching him. He found things I’ve already had in my possession. I have everything. I cautioned him again, pleaded with him. But he has no shame. He didn’t listen. Could I ask you to do me a favor? We are old friends. This boy hasn’t defended his thesis yet, but I know he is ready. It cannot wait. Help me. You are well known in the academia. He would listen to you. Could you please talk to him? You may bring him to his senses. After all, I found those documents first. What about justice? What about integrity?”

I didn’t have an immediate response. Although there was some logic in Sembek’s words, the young man didn’t do anything wrong. I decided to tell Sembek that I didn’t want to be involved in this matter.

Perhaps viewing me as a traitor or even the young man’s accomplice, he became angry at once:

“You all are cut from the same cloth,” he said. “You are all fools ignorant of true knowledge. You know nothing. You don’t see what is lying under your feet. Yet you call yourselves scholars. But you are weak; you are cowards. I have no titles, but I am not afraid because I believe in myself. I know my worth, and I speak my mind. Say, you’ve got your doctoral degree. Don’t deny it. People talk. I’ve never heard a rumor that ended up being false. Doctorate, doctorate . . . You have no other purpose in life; that’s all you have. But do you deserve your degree? Have you thought about that? Huh? No, you don’t deserve it. Do you know, for example . . .?”

He proceeded to recite an extensive list of rare records I didn’t know had existed.

“Listen,” I said when he paused, out of his breath. I gave him a hug and patted him on the back. “You must write.”

“What do you think?” Sembek said. “That boy was wrong, wasn’t he?”

“Sembek,” I said. “I understand you. But there is one thing you don’t get. What is it all for? What is the purpose? How are you different from Karabai who had ninety thousand horses but not a single good robe to wear? We can forgive Karabai: he owned his horses. And who owns those works locked in your book cabinets? What right do you have to keep them hidden from others? Those are treasures left to us by our ancestors, and you are a criminal who stole them. And science has nothing to do with philately!”

Sembek ignored my words.

“That boy was wrong,” was all he said.

“He is right,” I said. “Do you expect him to wait until you burn, shred and drown the records? He is right.”

It was at that point when our decade-long friendship ended. The expression on Sembek’s face made it very clear.

Nevertheless, I decided to go on and tell him a few more things. That he must make announcements about his findings and have some of them published as books. That he wouldn’t even have to bother writing articles; a two or three-sentence introduction would suffice. That he must think about his academic integrity and his responsibility before the nation. I touched on quite a few of those lofty matters. Indeed, I went too far in my excitement. But Sembek didn’t flinch. He didn’t hide his disappointment in me. Eventually I shut my mouth. We parted coldly.

Several days went by. I kept thinking about what had happened. I realized that I had never questioned any part of Sembek’s story. As my first impressions faded, I concluded that it was a product of his mad imagination. Gradually, my sleep improved and my appetite returned. I felt like my old self again. Memories of little sallow old Samet, who had spent forty-two years in the archives without producing a single page of research and unearthed an abundance of original records, only to throw it all out before his death, and my old friend Sembek, who took it upon himself to continue Samet’s mission as he wasted away talents he was blessed with, began growing dim. The story of the disturbing encounter now seemed like one of the old fairytales my grandmother used to tell me in my childhood. But in the evening of the day before yesterday, I realized that I’d been deceiving myself.

With a thick briefcase in hand, I was about to leave the archive building when he appeared, like an apparition, out of nowhere. Not Samet, no. Sembek. My attempt to walk by pretending I didn’t notice him failed. He called my name. He didn’t take the trouble of greeting me and went straight to the point.

“I know you have been working on an important paper,” he said. “You’ve gathered all necessary data. Your findings this week, especially this afternoon, have been very promising. But it’s too early to celebrate. All this material has already been discovered and known. I have everything. You don’t believe me? Come with me and see with your own eyes.”

My head began spinning. Yet, somehow, I managed to escape the devil’s trap. I don’t recall whether I flew or run, but when I showed up at home my wife was startled to see my face.

Although I managed not to pass out in front of her or fall ill, I found it difficult to contain what I’d seen and heard. I felt I would burst if I didn’t share it with someone. Finally, after a night of suffocating nightmares and endless tossing and turning in bed, I got up, had three cups of strong black tea and sat at my desk. I wrote all day and revised and edited all night; twenty-four hours later, my story was ready. My wife typed it up, and my son read it through. After work, I hurried to get it to editors of a local literary journal before they left for the day. I kept thinking about my experience on my way to the editors’ office. The story was written and would be published someday. But what to do with a trunkful of material I had gathered in the previous five years? What to do with my interest in further research in the field? By the time I reached the office, I came to a decision. I will have to leave the academia. Not because I don’t value my professorship. Not because I am afraid of difficulties that may be encountered in my academic career. But because I am afraid of Sembek. Not of him exactly. Of his fate. Of it becoming my fate too.

Absit omen.

Growing Up with the Face of a Bad Guy

In the third grade, my homeroom class watched a terrible western-style clip involving a gang of white settlers chasing a Native American boy across the desert. The boy was on foot, the white men on horses. The men were mustached, shoulders broad and square, hands armed with rifles. The footage was grainy, and there was little to no actual fact involved, but I suppose my memory might be faulty in that regard. What I remember most is this: at some point, one of my many torturers snickered to the class, “Hey, he looks like K.” From there, the movie became a sort of game. “Look at K run.” “K got shot.” “K has a flat face.”

We sat in darkness, the whine of the television fading out as I listened to their faux-whisperings. By the time the boy was cornered on a cliffside, most of the class was caught in a kind of chanting mob mentality. “Die, K!” “Shoot him!” I began to pray for his escape. Of course, in the end, the boy died. The lights came on, and the chairs were put away. Under the sudden, blinding hum of the fluorescent lighting, my classmates looked at my face and laughed.

Of course, in the end, the boy died. The lights came on. My classmates looked at my face and laughed.

I attended an expensive private school in Lower Manhattan for six years. My only friend in elementary school, who understandably abandoned me after the bullying reached insurmountable levels, was the child of a rock star and a model/actress. Like many first and second generation immigrants, my own parents worked themselves to the bone to send me to a “good school.” We lived with seven or eight people in our tiny Sheepshead Bay house, depending on the season.

While the children of the city’s white glitterati swarmed to their Caribbean babysitters at day’s end, my own Guyanese grandfather would meet me at the gate after taking the early guard shift at The World Trade Center. We took one or two trains and at least two busses to get home, where my grandmother would be waiting with curry, or roti, or dal. The trip lasted over an hour and a half; I was late to math class every single morning. If I was lucky, after dinner I could watch my grandmother’s prickly cunning decimate every contestant on Wheel of Fortune. In the beginning, I did not want for anything. I was fed. I had books and toys. In kindergarten, I only knew that I was ostracized: for the clothes I wore, for not having a mythical second home called a “Country House,” for the food I brought to school in tins and Tupperware, and for my skin. By nine, I only knew that I was miserable, and that sometimes I wanted to die.

On weekends, my father watched a lot of westerns. He seemed to particularly enjoy John Wayne. Every role blurred together: John Wayne on a horse, on a hill, talking down to a woman. John Wayne wearing a white shirt, broad-shouldered, tanned. After attending school with the children of cinematic luminaries, the distinction between actor and role was difficult for me to parse as a child. In my mind, here was Keanu Reeves fighting a bad guy. Here was Keanu Reeves crying about a girl. Here was Keanu Reeves wearing a cool jacket. (I really liked Keanu Reeves.)

If I was lucky, my father would put on Bonanza. Adam Cartwright was tall and handsome and gentlemanly. He wore a black hat, which I had never seen before in a Western. It made him seem dangerous, but in a good way, like Batman. I liked to watch him get on and off his horse. Eventually, although I didn’t know this at the time, Pernell Roberts tired of the series’ formulaic plotlines and his character left the show, which severely dampened my interest depending on what point the re-run schedule was at. Little Joe was handsome, but he was also far too stupid. He was always running off half-cocked, getting himself into trouble.

What I liked most about Bonanza was that there were no “bad guys,” with the notable exception of systematic injustices, which was important because the bad guys in westerns were almost always Native Americans. Occasionally, there was the Engrish-speaking Oriental, or the lone black extra, but mostly westerns were filled with a kind of racial resentment that my little brown head had no words to explain, despite being called “Walking Dictionary” and “Miriam Webster” by my tormentors. I didn’t have the language to talk about racism then, or the even more complicated racial imposter syndrome.

I wasn’t pale, or fine-boned, or hairless like the Chinese characters I saw on television. In the summer, I tanned to a rich tamarind that I cherished, while my mother burned lobster-red. Despite growing up speaking toddler’s Cantonese, I watched Jackie Chan Adventures and Mulan with a kind of quiet alienation, understanding that the characters did not look like me but not really understanding why. My Guyanese heritage was even more complicated. We were Indian, maybe, but also not. We were Caribbean, and definitely West Indian, but we were vehemently not black. Most people I met had no idea where Guyana was, and there were certainly no Guyanese people on television. I was, in a word, brown. And confused. I identified most strongly with Aladdin and Jasmine, who looked like me and weren’t from any real country, who were clever and oppressed and beautiful.

Most people I met had no idea where Guyana was, and there were certainly no Guyanese people on television. I was, in a word, brown, and confused.

Most of all, I was absolutely in love with Gargoyles’ Detective Elisa Maza. Maza was mixed-race and entirely non-white, intelligent, and kick-ass. She was pretty in a practical way that never interfered with her job, and she was never, ever objectified. She was everything modern racial justice advocates want from representation in media. When Salli Richardson was originally cast for the role, the showrunners changed Maza’s backstory and racial heritage to be respectful of Richardson’s mixed black and Native ancestry. This is a factoid that draws genuine awe from my friends when I tell it, as we now live in 2018, where whitewashing is a controversial norm.

Still, when I remember the actions of my fellow classmates, I am unsurprised at the current state of the industry. I know that I am not quite being fair. Children are, after all, often petty and cruel. They latch onto difference, and if that difference is racial, then so be it. I was harassed for my book smarts, my acne, and my asthmatic clumsiness as much as I was for my eyes or my race or my skin. But I was bullied for the latter, in the end, and the fundamental difference is that those children were never taught that there were some lines that should never be crossed. They were never taught that race matters, insomuch as they should not be racist.

In retrospect, it is easy to understand my affinity for Bonanza. The Cartwrights were about as egalitarian as you could get for a western. They often spoke up on behalf of the oppressed, and sometimes those people were even PoC. And while their Chinese cook Hop Sing wore a long braid and spoke Engrish, he was also allowed to have his own personality, his own feelings and desires. He was never referred to as Oriental, only Chinese; any use of the word “yellow” was firmly corrected. In “The Lonely Man” (1971), Hop Sing finds a traumatized young white woman, Missy, while prospecting in the forest. Missy is near-feral, but through Hop Sing’s patience and his superb cooking skills, he slowly coaxes her into a kind of quiet, comfortable companionship. Finally, in an incredible gender reversal and in contradiction to the ugly slavering stereotype exemplified by I. Y. Yunioshi and Long Duck Dong, Missy is the first to declare her love and propose marriage.

These days, I can talk for hours about the emasculation and feminization of East Asian men in American cinema. This would include a lecture on the Chinese Exclusion Act and the Page Act of 1875, and the way Chinese women were intentionally barred from the country to prevent Chinese laborers from creating communities or settling in the States. There is much to be said about the complexities of trauma, and what it means for a traumatized white woman to find a male Chinese cook with a long braid non-threatening. But I had no understanding of these concepts in elementary school, and so what I can offer is this: in the first grade, the aforementioned only friend of mine and I were caught between friendship and puppy love in the way only children can be. Sam* and I drew ourselves as Sailor Moon and Tuxedo Mask. We exchanged gifts on Valentine’s Day. But one of the other students was jealous, and at quiet reading time this student confronted me at the bookshelf and demanded to know my ethnicity. I answered absently, used to this question from viejitas on the train who thought me Chicanx, and less adorably, substitute teachers who liked to make a guessing game of my racial identity.

“Well,” Harper* responded, “if you’re Chinese, you should have a crush on the other Sam, because you’re both Chinese. And I’m white, so I should get to be with the white Sam.”

I don’t remember how I responded. Probably something along the lines of, “That’s really dumb.” What I do remember is that later, at the snack table, Harper was still dissatisfied with my refusal to back down. What followed was a Harper-led mob-style chanting of “K is Chine-ese!” over and over, complete with several children holding up their eyes at the corners, and the banging of plastic utensils on the table. The two other AsAm students in the class began to cry, notably including Other Sam (who might have actually been Southeast Asian, come to think of it, and not Chinese at all.)

I was seated at the table full of twenty kids who had chanted my racial identity at me as a slur as though nothing had happened. In a way, I suppose, nothing extraordinary had.

Harper was not punished in any meaningful way for this transgression. I don’t think there was even a time out. When the teachers came back in from retrieving our snacks, they quickly rushed to the side of the two sobbing AsAm kids, and left me standing there in absolute confusion. I was not comforted, or even really addressed beyond a cursory glance, which in retrospect may have had something to do with Annie* and Other Sam’s Manhattan apartments, or maybe the fact that Annie was half white. My statement was taken, and then I was seated at the table full of twenty kids who had chanted my racial identity at me as a slur as though nothing had happened. In a way, I suppose, nothing extraordinary had; the teachers must have been used to looking the other way. Soon after this, Sam stopped spending time with me, or inviting me over, or sitting with me at lunch. When my mother tried to insist I deliver a Duane Reade bear-and-chocolate combo to Sam’s desk next Valentine’s Day, we had a blow-out fight about it. In the end, I thrust the bear into Sam’s hands and ran away.

After three weeks of idyllic meals and innocent flirtations in the forest, Hop Sing entices Missy into joining him at Ponderosa, the ranch where the Cartwrights employ him as their cook. He rushes into “#1 Boss” Ben Cartwright’s office to tell him that he is engaged to be married. Outside, Missy is hiding around the corner of the porch. She is dressed in one of Hop Sing’s black cheongsams; her red hair has been braided long in the back. She has, in essence, attempted to assimilate into Chinese culture as she knows it. When the broad, amiable Mr. Cartwright comes out to shake her hand, she flinches away from him; Hop Sing has to take her hand and bring the two together.

The look on Mr. Cartwright’s face in this scene is priceless. It is the look every white person should rightfully have in the face of systematic racism. He looks equal parts horrified and guilty, and the expression does not leave his face for the entire second half of the nearly hour-long episode. Ultimately, both the audience and Ben Cartwright know that his white guilt cannot save Hop Sing’s happiness. We know what Hop Sing and Missy do not: miscegenation was explicitly outlawed. It was not until Loving vs. Virginia in 1967 that anti-miscegenation laws would be banned from the U.S.. “The Lonely Man” aired in 1971; it is damning to think that even to a classroom of uber-rich white kids in 2002, the show’s message was still progressive.

The look on Mr. Cartwright’s face in this scene is priceless. It is the look every white person should rightfully have in the face of systematic racism.

In the end, Hop Sing does not believe Mr. Cartwright when he breaks the news. The heartbreak on Lorne Greene’s face, here, is excellent acting. His heavy brow furrows. He looks like a man collapsing in on himself. Against Mr. Cartwright’s advice, Hop Sing is determined to see the local judge. “He knows me,” he insists. Mr. Cartwright tries to convince him to leave Missy at Ponderosa, but the couple refuses. They go into town together, attracting the hateful glares of the white populace.

There is a story in Chinese mythology of a man who falls in love with the moon. Not the moon goddess, Chang’e, but the actual moon. He sees its reflection in the water, but when he rows out and dips his cup into the placid mirror of the lake, it always comes up empty. He spends all night outside in the dark, dipping his cup into the moonlight and coming up with nothing but lakewater and heartbreak. When Missy begins to warm up to him, Hop Sing comments that talking to her at first felt like trying to catch a moonbeam. For those who happen to be familiar, we recognize this as a foreshadowing.

Sure enough, when they reach the courthouse, the judge tells Hop Sing what the audience already knows, that the law is absolute, that they would both be jailed. By this point, the tension has built to a towering height, each scene more and more menacing. This is, in my remembrance, one of the most horrific episodes ever aired in a show that often traded in comedy and slice-of-life family drama. In the end, the mob waiting outside the courthouse for the “coolie” that is “chasing” a white woman is almost a relief. This, at least, is the devil we know. Here is the Chinese man beaten into the dirt, the sobbing woman re-traumatized, the teeming masses of white violence. Here is the end we always knew was coming for us.

(*Names have been changed.)

I Call All My Exes Darren

“Bad” by Chelsea Martin

I feel like I’ve done something wrong, but can’t put my finger on what. I lie in bed trying to recount all the dumb things I’ve said recently that might blow up in my face. Then I think of all the things I have that are worth keeping and how I might fuck up and lose them. There are a lot of possibilities. But I can always move away again if I want to.

Darren used to say blaming myself for bad things I had nothing to do with was a form of self-flattery. He said I shouldn’t give myself so much credit. I call all my exes ‘Darren,’ and I imagine them as one large mass, bound together by some sticky solution that they contract from sleeping with me. I probe the mass with an extended finger the way I’d probe a Jenga tower, looking for something that feels vulnerable that I can displace for my own gain.

Darren used to wear socks to bed but not underwear. He moved all the way across the country when we broke up and I never talked to him again. After I reinstalled Chrome on my laptop, months later, I realized I lost his Netflix password. It’s sad when things end.

Another Darren started a punk band with my brother while we were going out and they still play shows. Sometimes I go to the shows when I’m back in town to cause petty drama. I pretend I want to get back with Darren. I flirt with him in the green room, where I’m not supposed to be. I compliment him on his cargo jorts. I wave to Darren’s new girlfriend as I leave the venue in the middle of the show.

“Their new songs are so good,” I yell to her. “Your face is pretty.”

I’ve been waking up late due to staying up late, which gives me little time in the morning to relax before work. I like to make coffee and walk around my apartment, and move objects around until they feel right. Last week I put a giant hole in my wall trying to hang a picture. I cried. That wall was so easy to take care of before I broke it. Lots of things in life aren’t as easy to take care of as a wall. I know I’ll never take that wall for granted again. I will use all my mental energy making sure.

Darren, the real Darren, the namesake of the mass of exes, if I’m remembering correctly, was from Wisconsin. He liked bands I had never heard of, but not in a cool, obscure way. Like, bands with bagpipe players in them. He worked in a building I could see from a distance. He was very proud of being able to ride his fixed-gear without touching the handlebars. I remember thinking, “Deep down inside, everyone is this guy.” I never think of him anymore unless I need a ride somewhere. He was one of those guys who had a working vehicle. Many men before and since have arrived to me on a skateboard reciting the Street Artist’s Code of Ethics. They get indignant when I explain how to use soap. I’m not an expert, but the subject interests me.

Darren invites me over and we have sex in his bunk bed. Our bodies are very close to the ceiling. I keep touching the textured paint, as if it is my duty to involve the apartment in our act. But then I get distracted thinking about the possibility of someone lying on the floor in the apartment above us, less than three feet away. I almost never cum and I think it’s terrible that Darren pretty much always does. It’s completely satanic what men get away with. But in the moment I want what’s best for him.

The next morning I brag about the importance of my work, how noble I am, how great it feels to be needed by others, how feeble and gross old people are, how there is a kind of crust that grows on their scalps.

“It’s not cancer,” I say, but I don’t know if that’s true. I look up from my hands to remember who it is I’m talking to. Darren is spilling frozen hash browns into the sink. I go back to picking my cuticles and try to think of all the storm metaphors. Perfect storm. Stormy waters. Calm before the storm.

“Oh my god, I am bacon master,” Darren says. I think about going home but I don’t want to miss the bacon.

“One of the old ladies at my work loves bacon,” I say, knowing I’m being boring.

Darren starts laughing at his phone and then walks over to me and shows me the screen. I can’t see what’s going on in the video because he is laughing so hard it’s shaking his phone, but the audio sounds like things falling and crashing. Maybe a tool chest going down some stairs. I laugh heartily. Haha! It’s my fault as much as anyone’s that he doesn’t know sex stuff.

After breakfast I walk home. Storms a-brewin’.

The farthest I’ve ever moved at one time is 40 miles, but I live like 800 miles from where I grew up, so you do the math. I like to think of my life as a line extending to the right and upwards, like an unlabeled graph showing positive growth. I freely and openly admit I’m running away from bad memories. I don’t need constant reminders that I’m a bad friend and a bad person. They inhibit my self-esteem.

The town I live in now is unexceptional. Like, in an impressive way. The doctor I see got not-great grades in school. He told me that. But he put the time in, he said, hardly ever missed class, and earned the right to be the sole interpreter between me and my body. He pronounces ‘congested’ like ‘congestured.’ He will not prescribe me Xanax.

“Maybe it would help me sleep,” I say.

“But Xanax is for anxiety. Oh, I see what you mean. But no.”

When PetSmart fired me, I didn’t leave my apartment for days. I did not know how to proceed with life, knowing I wasn’t good enough to be a PetSmart clerk. Several days later, I walked to Walgreens to buy tampons. Just seeing the craggy street again made me feel hopeful. We’re living in a special time on this planet, in the ruins of something that was never good. There is a blatant display of mediocrity everywhere you look. PetSmart would eventually go out of business, I understood with sudden clarity. I could practically smell Office Depot executives drawing up plans for the PetSmart building, like vultures flying over weak prey.

As I walk home I get a text from Darren. It is a photo of a cheeseburger and sweet potato fries and a pickle, with Darren’s hand entering the frame to do thumbs up. We literally finished eating breakfast 20 minutes ago. I don’t know how he had time to get to a restaurant let alone work up an appetite.

“Oops, meant to send that to Roger,” Darren said.

“Lol,” I text back. I have no idea who Roger is.

I shower and prepare myself for work. The residents at the senior center have recently found out I do not volunteer my time, and in fact get paid to serve them dinner, and they are now happy to offer a critique of my work performance. They’ve commented on my punctuality and demeanor and how much food I give them. They’ve shaken their heads in disgust at my shoes, my breath, the way I pronounce ‘ketchup,’ and my arm hair. Everything, to them, is the reason I’m not married.

They’re convinced their dues might go down if I weren’t piling steamed carrot slices so high onto their dinner trays. If I give them slightly fewer steamed carrot slices, they start rumors that I’m stealing food. If I were so hard up for food that I was stealing steamed carrots, you’d think people would have a little compassion. One lady told me I should work on my physical appearance. She was spreading butter onto a roll with a potato wedge instead of a knife.

“Thank you for the constructive criticism,” I said.

“Rat’s ass,” she said.

People can tell I’m bad and that’s why they don’t like me.

When I go home I go straight to bed with my laptop and open the website where I’ve been watching bootleg Star Trek. The longer I lie in bed, the less sleepy I am. The screen makes my eyes hurt, but pain doesn’t scare me, and I hate the idea of closing them.

About the Author

Chelsea Martin is a writer and illustrator living in Spokane, Washington. Her website is jerkethics.com.

“Bad” is published here by permission of the author, Chelsea Martin. Copyright © Chelsea Martin 2018. All rights reserved.

Write Your Own Touching Holiday Story With Our Handy Chart

The winter holidays are a time for overindulgence, family bickering, and most importantly, saccharine but extremely effective tearjerking stories about love, forgiveness, community, family, peace on Earth, and finding a functional application for your weird nose. Sometimes these are vaguely religious, but more often they’re about the Goodness in the Human Heart and how Yes, Virginia, There Is a Santa Claus and whatnot. But after 150 or so years of the same holiday stories, we’re ready for some fresh blood, or at least some fresh milk and cookies. Thus, we are introducing a Holiday Story Generator, so you can sniff out the sentimental holiday narrative hidden within your own name. (Christmas has a real monopoly on this type of emotional manipulation, but we threw in some Chanukah ones if we thought they were funny, including a deep cut for you real Chanukah story fans.)

The aforementioned Virginia, for instance, would choose the V option from column A (“old”), I from column B (“man”), R from column C (“is a humbug”), and so forth, and plug them into the key sentence. Result: “An old man who is a humbug sees his own grave and learns humility.” (We put “their” when a personal pronoun is called for but you’re free to change it according to your protagonist’s gender.) Well heck, that’s basically the plot of “A Christmas Carol” so we know that one works! If your first name is shorter than five letters, go on to use your last—Tiny Tim, for instance, would do “Tiny T” and wind up with “an unhappy man who sells matches runs out of money and gives birth in a manger.” A true holiday miracle.

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Winter Horoscopes for Writers

We begin this season with the winter solstice: the shortest day and the longest night, the technical start of winter at what feels like the depth of the season. Finally, we start moving back towards the Sun: the days inching towards light, the night slowly pulling back. This has been a long fall, full of shadows and retrogrades and many planets moving through deep, watery Scorpionic energy. A time of self-reflection. A time of healing.

The winter solstice is ushered in by a full moon in Cancer on December 22nd, inviting all of us to take a pause and consider how our emotional home base helps us build the empire that the Capricorn energy of late December gifts to us. What do we need to feel at home, to feel safe? And how will that help us build the dream?

Then, we fly. The energy in the air stirred by Jupiter in Sagittarius is furthered by Mars (the planet of action) and Venus (the planet of love and beauty) moving into fire signs in January 2019. The decisive, powerful earth energy of Capricorn moves quickly when aided by so many planets in fire: the time to act is now.

Chiron, the “wounded healer” minor planet in our chart which marks our great soul-hurts, is moving from Pisces into Aries on February 19th. This new cycle of Chiron invites us to work with our wounds in a new way, with all the grit of fast-moving, independent Aries energy. Chiron asks, “How can I support my healing?”

After the deep, watery soul work of the late fall, 2019 gets off to a start with all the fire and the earthy energy of action and building. But it’s not just about moving through cycles and discarding lessons: we want to integrate all that soul work from 2018 into what we are producing now.

ARIES

The new year will feel particularly new for you, Aries. There is a lot of action happening in your house of self and identity, asking you to consider the tensions between how you take action, how you cause trouble, and how you work with your soul wounds. Uranus, the planet of change and revolution, is traipsing back through the last degrees, scraping out the bottom of the jar, combing through the last nooks and crannies. Odds are good that you’ve had some major (even disruptive) life changes over the last few years; Uranus, here in this final visit to your sign before it leaves for Taurus, wants to wrap up some lessons and make sure that you’ve got everything you need.

The good news? You’ll have the energy for that final Uranian push, because Mars, the planet of action, will also be going through your house of self and identity. After spending so much time in Aquarius throughout the summer and fall, and then zipping through Pisces this December, Mars gets a jolt of action on January 7th, returning to the sign it rules, Aries, where it is a warrior: energetic, fierce, emboldened. When Mars is in Aries, shit gets done. For you, this also looks like drawing boundaries, standing up for yourself (and your work), and having the motivation and self-direction to really push forward on projects that may have stalled out in late 2018.

On February 19th, Chiron, the “wounded healer” planet, moves from watery, nurturing Pisces into fiery, independent Aries — and your house of self and identity. Chiron has spent the last few years in your house of rest, retreat, spirituality, and intuition, and you’ve been working with wounds in perhaps unconscious ways (or, perhaps, consciously, in therapy or through creative work). Now, in Aries, the wound gets spoken. Noticed. Activated. It moves from the unconscious to the conscious, into the body, where it can be integrated into identity — and, perhaps, into the work.

Writing Prompt: What old wounds have informed your work over the last few years? What has caused discomfort? What have you shied away from writing about?

TAURUS

Winter kicks off in Capricorn season, which can feel familiar, in that it is also earth energy: slower-moving, quiet, grounded. For you, Capricorn is your house of travel, philosophy, and long-term plans: a time to look to the year ahead, to get that planner, to put feet under your dreams and consider your growth over time — where you’ve come from, and what you’re moving toward. Use the full moon in Cancer on December 22nd, which highlights your house of communication and short-term plans, to take a look at what projects are nearing completion, which dropped off your radar, and what is worth carrying into 2019.

If you’re feeling restless, even in the dead of winter, there’s a reason. You have a lot of action happening in your house of rest, retreat, spirituality, and intuition, what the ancients called the “house of self-undoing.” Uranus, the planet of change and revolution, disruption and technology, is here for one last visit before moving into your sign in the spring, rooting around the place and making sure you’ve got the lessons they taught during the last few years they spent in this part of your chart. Mars, the planet of action, will enter this house on January 7th for a quick sweep. When Mars is here, they ask, “what is holding you back? What are you afraid of? And what can we do about it?”

All of this unconscious action in your most deeply intuitive house offers a lot of creative juice, if you’re willing to work with it. When Mars goes into your sign, and your so-very-conscious house of self and identity, on February 15th, it’s time to pull out all of the gunk that they dredged up and really use it as motivation (or material). Mars in your house of self is energizing, self-motivating, direct, focused. And most of all? Ready.

Writing Prompt: Think about this time last year. Where did you think you would be today? What dreams did you release over the course of 2018? What dreams did you realize? What dreams were birthed?

GEMINI

You spent a lot of late 2018 learning about the vision for your work: how you dream, how you put feet under the dream, how your daily habits support the dream. Mars (planet of action) has spent a lot of time in your houses of long-term plans and also career and public recognition; meanwhile, Venus, the planet of love, spent forever in your house of daily routine, teaching you how to practice self-care while grinding and how to integrate themes of love and beauty into your daily life or work habits.

You’ve also spent a lot of time this fall thinking about the work you do in love, and the work you do in how you bring beauty into the world. Venus prompts you to bring love, attention, and creativity not only to your work, but to your relationships. First up, she enters fiery, independent Sagittarius, igniting your house of committed partnerships in the first week of the 2019 on January 7th. How are your romantic attachments — and business partnerships (or, say, committed writing groups or contracts with certain publications?) — serving you or affecting your creativity? Then, Venus zips into Capricorn and your house of intimacy on February 4th, really securing the partnerships you worked on at the beginning of the year. On March 2nd, Venus goes into Aquarius, and your house of travel and long-term plans. Time for a writing retreat with a creative partner, or perhaps a trip to the museum for inspiration?

One important note for you: the first Mercury Retrograde of 2019 will be in Pisces from March 5th–28th. While Mercury goes into retrograde several times a year (and, as such, is something to work with rather than to worry about), this one will be in your house of career and public recognition, so be mindful of the communications, newsletters, tweets, and press releases that you are putting out into the world at this time. Dot your Is, cross your Ts.

Writing Prompt: What have you learned about your work habits over the course of 2018? About how you do your best work? About the routines or practices that best work for you, even if they aren’t what everyone else seems to do? (And how are you doing with accepting that?)

CANCER

On December 22nd, the day after this year’s winter solstice, we have a full moon in your sign. Full moons can be energizing; they are also a time of completion and release. The moon is ruled by watery Cancer (which is at home in the home, in the domestic, with women, with the goddess), which makes this full moon particularly powerful. What projects are you completing or releasing, and how can you best recharge? The full moon in your house of self and identity asks you to be mindful of the connection between your body, mind, and spirit, and to honor the needs of all three.

Throughout the winter season, there are many planets traveling through your fellow cardinal signs of Aries and Capricorn. Cardinal signs are the “leaders” of each element group — the sign known for its initiating energy. You, Cancer, mark the summer solstice; Capricorn, the winter solstice; Aries, the spring equinox; and Libra, the fall equinox. Depending on where your personal planets are located in your birth chart, you may particularly feel the effects of the Sun (the ego), Saturn (planet of time and responsibility), and Pluto (planet of transformation), which are in Capricorn, and Uranus (planet of change and revolution) and, later, Mars (planet of action) and Chiron (the “wounded healer” minor planet) in Aries throughout early 2019.

Saturn and Pluto are currently spending years scraping through your house of committed partnerships, completely transforming how you exist in partnership, what you look for in partnership, and what you desire. As we enter Capricorn season, the Sun — the ego, the core — shines a bright light on this part of your chart. These are not only romantic partnerships, mind, though the distinction between the personal and professional can feel increasingly arbitrary as we move through life; of course the personal affects the professional, impacts the spaces we carve out for ourselves, how we see ourselves, even the kinds of work we produce. But this house also governs long-term business and creative partnerships: agents, editors, people you write with. There will be a series of eclipses on the Cancer/Capricorn axis, between your houses of self and partnership, throughout 2019, really asking you to dig deep and do the work in order to bring your lived identity and desired relationships into alignment. The first new moon eclipse in Capricorn hits your partnership house on January 5th. Mark your calendar, and get ready for some journaling and introspection.

Writing Prompt: For you, what is the relationship between the personal and the professional, or the private and the public?

LEO

For Leos, Capricorn season is all about work — literally. The winter solstice kicks off in your house of habits, work, and health, asking you to focus on getting your daily routines in order. Now is the time to clean your desk, get a new planner, and make an appointment with your doctor, therapist, dentist, astrologer, nutritionist — whatever you’ve been putting off for your own well-being. This is the time to take care of your body.

But this winter is not all details for you. 2019 gets off to a fiery start, with Uranus, the planet of change and revolution, in Aries, and other planets quickly following — on January 7th, Mars, the planet of action, joins Uranus in your house of travel, philosophy, and long-term plans (road trip, anyone?). Also on January 7th? Venus finally moves out of Scorpio and your house of home and hearth (where she spent so much of the fall, possibly causing you to homebody it up) and into Sagittarius and your house of creative energy, giving your projects (and your love life) a major energetic boost. Aquarius is your opposite sign, so it’s usually a good time for you energetically, but with all those planets in fire, your creativity in early 2019 is going to be nurtured in a special way. Work with the energy and reap the rewards.

One thing to look out for? The first full moon total eclipse of the year is in your sign! January 21st: mark your calendar. Over the last year and a half, we’ve had a series of eclipses in Leo and Aquarius, asking you to consider your relationship between the self and the other (committed partnerships) — really digging deep and finding the groundedness within. This is the last eclipse in that series. Full moons are a time of completion and release, and this one especially so. Break out your journal.

Writing Prompt: What have you learned about your individuality, and about yourself in relationships (or your desire for relationship, or your patterns in relationships), and about the relationships between all of those things over the last few years? How do these inform (or not inform) your work?

VIRGO

After a long, slow-moving autumn, the winter solstice brings a burst of energy: the Sun in Capricorn moving into your house of creative energy, and a full moon in Cancer on December 22nd in your social consciousness, friendships, and the internet. Capricorn season is an energizing time: crisp and (perhaps) cold, the air is buzzing with ideas and possibility. Finally — finally — we are out of the depths of home and hearth and self-reflection; away we go into your creative projects and work life. Let yourself get carried away by the season, by the energy of the new year, by all of your ideas, even by the connections you’re making on Twitter. No need to get into the details yet. Now is the time for big ideas and expansion.

The creativity of Capricorn energy continues for you even after the Sun has moved into Aquarius and your house of daily habits, work, and health, as Venus goes into Capricorn on February 4th. Venus brings a touch of beauty, delight, and zest to your creative projects, buoying your energy even as Aquarius season invites you to consider the details and the routines necessary to get those projects off the ground.

A full moon in Virgo, in your house of self and identity, marks the beginning of Pisces season on February 19th. Full moons can be energizing, but they are also a time of completion and release. What projects are you wrapping up, here at the start of 2019? What cycles are finishing? Are there creative habits that no longer serve you, that you can finally lay to rest?

Writing Prompt: What projects have you not allowed yourself to work on, because you couldn’t figure out the details? Dream about those.

LIBRA

2019 is all about creative inspiration for you. On January 7th, Venus, which brings love and beauty to whatever she touches, moves into your house of communication and short-term plans, igniting a fire under your current writing projects. Also on January 7th? Mars, the planet of action, joins Uranus, the planet of change and revolution, in Aries, which is your house of committed partnerships. This can mean romantic partnerships; it can also mean business and creative partnerships, like, say, literary agents and long-term editors. Early 2019 is about bringing your creative work into the world with the right people. Let’s make it happen.

The good news is that all this fire is aided by empire-building, earthy Capricorn, one of your fellow cardinal signs. Cardinal signs are the “leaders” of each element group — the sign known for its initiating energy. You, Libra, mark the start of the autumnal equinox. Capricorn is the winter solstice, Cancer is the summer solstice, and Aries is the spring equinox. Lots of planets are moving through cardinal signs right now — lots of initiating energy, lots of “Let’s get going, already!” You know how to work with that: you’re comfortable with it. What you’re less comfortable with? Capricorn’s empire-building earth hits your house of home and hearth and deep family roots, whatever family means to you. Saturn, the planet of time and responsibility, and Pluto, the planet of transformation, are due to spend years in this section of your chart, turning the soil slowly, making sure you are good and comfortable with the discomfort that feeds a lot of that fiery creative energy.

But it’s all about how you integrate the energy, right? All about how you work with it. Towards the end of the season, the Sun and Mercury both move into Pisces, your house of daily habits and routine and health. Mercury will retrograde here, so be mindful of the little things, but this will offer some emotional glue and intuitive softness to the winter season.

Writing Prompt: What are you comfortable initiating, and where do you prefer to take a backseat or let others approach you?

SCORPIO

You didn’t just have your birthday season this fall; you also had a number of planets transit your sign at the height of your season. Now, as the solstice heralds the arrival of winter on December 21st, the last of the planets in Scorpio finally clear their retrograde shadows. What have all those Scorpio planets going through your house of self and identity meant for you? What parts of yourself have been up for review these last few months — how you communicate, how you love and allow yourself to be loved and appreciated, how you look at yourself?

Now, as we enter the depths of winter, the planets turn toward fire. On January 7th, Venus, the planet of love and beauty, enters Sagittarius and your house of value and material assets. Venus rules this house, which is also about how our own sense of self-worth manifests materially around us. What kind of space do you allow for your creativity to flourish? What kind of material support do you think your work deserves? Here, Venus offers a touch of grace, and asks you to sit with the idea of the ways in which you are valuable before she goes into Capricorn on February 4th, igniting your house of communication and helping you to build out your new ideas around value, how your work is worth physical manifestation.

Also on January 7th? Mars, the planet of action, goes into bold and independent Aries, your house of habits, work, and health, where Uranus, the planet of change and disruption, has already been rooting around, shining a light on where it’s time to clean house. The new year is a time when we are often reconsidering and recalibrating habits, but Mars’ presence here gives you the extra energy and motivation to look at what’s working and discard what isn’t serving. It’s a new year, Scorpio. Time to take care of yourself.

Writing Prompt: What values feel like they have shifted for you over the last year? What areas of your life need the most tending in terms of daily routine? Is there overlap here?

SAGITTARIUS

The big story for you is, and continues to be, Jupiter, the planet of expansion, which moved into your house of self and identity on November 8th. Jupiter has had some time to settle in, to root around and get comfortable. What have you learned so far? What areas of your life have taken a turn for the better in the last month? How have you attracted attention, perhaps unwittingly? Jupiter is a magnifying glass that will expand whatever it touches, no matter the nature of what it touches. This is a time to get your house in order, to make use of this lucky transit in the best way possible. All eyes are on you — but how are they on you? Put in the work, put yourself out there, do a vision board, put feet under your dreams: this is how to make the most of a Jupiter transit.

On January 7th, Venus, the planet of love and beauty, goes into Sagittarius and your house of self and identity. Venus brings sweetness to whatever it touches, and when Venus visits your own house, you attract light. Venus will also meet up with Jupiter during this transit — a very attractive time when creative juice will flow and connections will come easy.

Meanwhile, it’s winter, which means there is a lot of action going on in your house of value and money (the Sun, Saturn, and Pluto, which are all in Capricorn), asking you to be extra responsible about your organization and spending (and invoicing and taxes, perhaps?). Venus will also visit Capricorn in early February, asking you to consider the relationship between your self-worth, spending, and underlying values that manifest in the material.

Writing Prompt: What opportunities do you want to attract in 2019? Make a vision board.

CAPRICORN

Happy birthday! Your season starts on the winter solstice: the darkest night of the year, a time of rebirth, renewal, and regeneration. The world spins toward light again, and your energy is at its height. Right now, a number of planets are in your sign: in addition to the Sun, there is also your ruling planet, Saturn (time and responsibility) as well as Pluto (transformation). This is a heady triumvirate of energy roiling through your empire-building house of self and identity this month: a time when all eyes are on you and the projects that you are undertaking and continuing to build in the new year. In February, Venus, the planet of love and beauty, comes along to join the other planets, adding a touch of grace and ease to your hardy efforts.

On January 5th, there is a new moon and partial solar eclipse in Capricorn, and your house of self and identity. This marks the beginning of a new series of eclipses that will take us through the next year: eclipses on the Capricorn/Cancer axis, which is traditionally associated with the public and the private, career and family, recognition and roots. For you, these eclipses will be bursts of energy, spotlighting your house of self and identity (Capricorn) and your house of committed partnerships (Cancer). How you integrate lessons about the self and the other, and your relationship to yourself and to those you partner with, will be under review.

Meanwhile, relationships of another kind are under review: your relationship to home and hearth, roots and family. Uranus, the planet of change and revolution, has been traipsing through Aries (this sector of your chart) for years, helping you redefine what home and family mean for you, and is currently wrapping up its journey here. Mars, the planet of action, enters the fray on January 7th, helping you integrate lessons from this holiday season into Uranus’ lessons. And on February 19th, Chiron, the “wounded healer” minor planet, enters Aries, inviting you to work with your wounds around family and home in a new way. You’ve got a busy winter ahead, Capricorn — but you’ve got the stamina for it.

Writing Prompt: How have your roots and/or family (what you consider to be family) informed your writing life?

AQUARIUS

It’s all about the writing, but sometimes it’s all about the writing. This is one of those times. The start of the year brings a number of planets into fiery, bold, and independent Aries — and your house of communication and short-term plans. Uranus, the planet of change and revolution, is finishing up a long transit here, revolutionizing your relationship to your work. On January 7th, Mars, the planet of action, moves into this house, lighting a fire under your ass: get ready to get shit done. And on February 19th, Chiron, the “wounded healer” minor planet, joins its friends, inviting you to work with your wounds around communication in a new way. Writing through the pain, about the pain? Alrighty then.

During your birthday season, you get an immediate energy boost from the Sun (the ego) shining a light on your house of self and identity. Also during your season, you have a new moon in Aquarius on February 4th, offering you the chance to set new intentions. New moons are a good time to start new projects, pitch stories, send newsletters, meet new people. Put yourself out there.

On March 2nd, Venus, the planet of love and beauty, also goes into Aquarius and your house of self and identity. Venus shines a light on you: on your efforts, and consequently your projects, bringing a sense of ease to your conversations and interactions with people. Venus smooths things over — this is a good time to be out and about in the world, networking and meeting new people. This is the tl;dr of winter, Aquarius: don’t be afraid to put yourself out there.

Writing Prompt: Make a list of intentions for the new moon. (An easy way to start: list five writing ideas that you want to turn into pitches, or projects, in the next six months. Go.)

PISCES

Your birthday season comes at the end of winter: the misty air, the sludgy streets, when the days are longer, the warmth is returning, and we are so desperately waiting for spring. Pisces is the great connector, the most intuitive sign of the Zodiac: you’re the water sign that eases us from the last gasps of winter into fiery Aries and new spring.

So what is winter, for you? It’s the deep unconscious: the Sun goes into the deepest dark of your chart, shining a light on your hopes, your dreams, your spirituality, your unconscious — and then, finally, consciously, on yourself. On March 6th, there is a new moon in Pisces, in your house of self and identity, asking you to set new intentions for yourself in a profound way; asking you to consider how you treat your body, how you feed your mind, how you connect with your emotions, how you honor your spirit, and how you integrate all four. New moons are a good time to start new projects, pitch stories, send newsletters, meet new people. Time to take care. (Also take care from March 5th–28th — Mercury is retrograde in Pisces, again in your house of self and identity. This is careful proofreading time.)

Finally, a major transit from a minor planet. Chiron, the “wounded healer,” has spent the last few years in Pisces, in your house of self and identity, turning over the soil of your wounds around your self-image, your sense of individuality, and how you see yourself. Not insignificant questions. On February 19th, Chiron moves into Aries and your house of value and material assets. Chiron in Aries has a direct boldness that bluntly asks, how do I value myself? Do I treat myself like someone that I value? How do my material surroundings reflect that? Chiron will transit Aries for the next few years, offering you the chance to work with wounds and discomfort around value, materiality, and money. It’s hard work, but the rewards are great.

Writing Prompt: What is winter, for you? And what is spring? How do you see yourself, between these seasons?



What To Read When You Can’t Think About Anything But How the World Has Gone to Hell

In the last month of 2018, the third millennium appears to be going off the rails. The year’s grim news review would take awhile, and it’s not even quite over yet. Voter suppression, an alleged assaulter in the Supreme Court, and the blatant harassment of people #livingwhileblack by the Permit Patties and BBQ Beckys of the world, are just some of the year’s lowlights. Outside U.S. borders, there’s the chaos and limbo of the Central American caravan in Tijuana and a far-right president in Brazil who came to power despite the #EleNão (#NotHim) efforts of the Brazilian people — to list just two of a number of downbeat international developments.

To summarize: The environment, pretty much everywhere, is getting more screwed with each passing day. (That includes the literal environment, in the form of basically irremediable global climate change.) The abyss of despair that awaits each time I log on to Twitter has been overwhelming. I delete and reactivate the app on a weekly basis, and attempt (mostly short-lived) WiFi fasts to stem the psychic suck of the news. These tactics haven’t been all that effective. I’ve spent part of this year traveling in Mexico and have had many unsettling conversations about family, immigration, and borders. On the other side of the divide, I have been stunned by a couple of North Americans living in the region as “expatriates” who support the current U.S. administration’s policies on this front. Right around the time of these exasperating exchanges, desperate for evidence that humanity is not all wretched, I returned to the works of the great humanist Eduardo Galeano, the Uruguayan chronicler of Latin America’s history and global football, as well as the master creator of the vignette narrative form. Having swept through three books of his books, I can recommend Children of the Days: A Calendar of Human History as a soothing literary palliative for our unsavory times.

Galeano died in 2014, so he missed this latest episode of global malaise, but his writing on the difficult times still resonates today. In 2011, he published Children of the Days, a swirling, global history that begins on January 1 and ends on December 31. Each day brings a story that took place on that day in times past. The result is an alternative calendar of historical miscellany, delivered in sharp and often bemusing fragments that take leaps into fiction and poetry. For January 1, Galeano’s entry is entitled “Today,” which notes: “Today is not the first day of the year for the Mayas, the Jews, the Arabs, the Chinese or many other inhabitants of this world.” Still, Galeano encourages the acknowledgement that time “allows us, its fleeting passengers, to believe that this day could be the very first day, and it gives us leave to want today to be as bright and joyous as the colors of an outdoor market.”

After this hopeful start, Galeano rolls out pointed half-page fragments that demanded a gathering of my Internet-scattered attention. The ability to be devoted to these narrative slivers felt like balm in itself. Though my focus in reading was steady, Galeano’s is not; he jumps around the world and back and forth between centuries. On January 20, he notes that the Catholic church in Mexico forbade the representation of serpents on church buildings in 1585. While the Bible takes a low view of snakes, “America was a loving serpentarium,” where the reptiles were symbolic of good harvests and the god Quetzalcóatl. The next day, January 21, Galeano flings forward to 1779 and to James Cook surveying Hawaiian natives who “walked on the sea in communion with her energy.” The “walkers on water” stabbed Cook three weeks after this encounter. Galeano mockingly notes: “The magnanimous explorer, who had already given Australia to the British Crown, never could make a gift of Hawaii.”

People have been odious to each other for a long, long time.

As a compendium of historical curiosities, the book slaked my thirst for other places and times, which in part helped me momentarily slip away the present. The vignettes do get bleak — his subject is human history, after all. For December 3, for example, there is the tale of “The King Who Said ‘No More” to the trade of slaves. The ruler of the West African kingdom of Dahomey Agaja Trudo fought slavers and rivals until he couldn’t. Galeano writes: “Europe refused to sell him weapons if he did not pay in human coin.” Reading this vignette, as well as many others, I felt the transformative power of perspective. As much as 2018 has been a shit show, the world was once worse. People have been odious to each other for a long, long time. It was not quite the succor I wanted, but nevertheless it offered space to consider the continuity of history — and the fact that countries and people have (more or less, and certainly some more than others) survived other, more awful periods.

Galeano’s unsung characters also reminded me that human heritage is not only one of hatefulness. Resistance, sometimes joyful, features. For June 9, there’s the story of two Galician women, who in 1901, “had to invent a husband” to marry in a church. The scandalous news broke in Spain, forcing the women to flee. They were imprisoned in Portugal but managed to escape. “In the city of Buenos Aires the trail of the fugitives went cold” is Galeano’s winking end to the story. I’d like to think they had a terrific happily-ever-after. Triumphs, like this, sweeten the book, and provide life-affirming examples of acts of resistance by feisty individuals who lived in darker times.

The many stories of the endurance of the indigenous universe through the globe were heartening. December 12 is the feast day for the Virgin of Guadalupe, a celebration of the appearance of the Virgin Mary in Mexico City in 1531. “By a fortunate coincidence,” Galeano writes, tongue wryly in cheek, “her visit occurred precisely where Tonantzin, the Aztec mother god, had her temple.” The “outlawed gods” took the form of Catholic figures, such as the rainmaking Tlaloc as Saint John the Baptist and “Saint Isidore the Laborer Xochipilli” who “makes flowers bloom.”

“Silence,” the February 22 sketch, lauds the Greek poet Paul the Silentiary, who was the manager of silence in the palace of Emperor Justinian. Galeano quotes from his poem:

Your breasts against my breast,
your lips on my lips.
Silence is the rest:
Tongues that never pause I detest.

With all that competes for your attention on micro (Instagram, livelihood issues, etc.) and macro (white supremacy, environmental apocalypse, etc.) levels, true quietude, in your own mind and most definitely, in company, feels like an extravagance out of grasp.

Galeano implores us to slow and contemplate the possibilities of a more humane action in the world. Preferably while we are still alive.

With these miniatures, Galeano implores us to slow and contemplate the possibilities of a more humane action in the world. Preferably while we are still alive. Mortality, which is made acute by the non-linear fragmentation of narrative, pulses through the book. For his December 31 entry, “Voyage of the Word,” Galeano offers the Roman physician Sammonicus, who wrote that death could be kept “at bay: by hanging a word across your chest day and night.” That word was “Abracadabra,” which he translates into “Give your fire until the last of your days.” The word’s potency as an immortality talisman may be in question, but its essence, as distilled by Galeano, it is solid, shining guidance of how to be in the world.

Alternatives

My Year of Rest and Relaxation by Ottessa Moshfegh

Is the onslaught of the world making you want to fully check out? Drop out vicariously through Moshfegh’s unnamed narrator, a twenty-something recent Columbia grad who decides to take to her bed in the year 2000. Her aim, aided by pharmaceuticals, is to sleep 24/7. She’s got a fat inheritance so it’s doable. For the rest of us, the novel provides an animated fantasy: what would it be like to sleep our current reality off, job-free in one of the most expensive cities in the world? Not a great deal happens for the most of the novel but Moshfegh’s prose is strangely energizing and will keep you turning the pages. If misery, even the misanthropic kind, loves company, then Moshfegh’s dazzlingly dark world-avoider makes for a prickly and urbane companion.

Severance by Ling Ma

In Ling Ma’s debut novel, Millennial publishing functionary Candace survives the advent of Shen Fever, which decimates New York City. She initially chooses to stay at her job to gain a work bonus. With this, Ma takes office drudgery to the apocalyptic end and pokes at the market economy. The laughs (especially at the office-based ridiculousness) might help momentarily alleviate existential angst. Severance will likely also spark the question: If the world actually slides into a zombie-populated hell, what would you do? Perhaps some strategies might emerge. I am betting they won’t involve staying on at the office.

Friday Black by Nana Kwame Adjei-Brenyah

In his debut collection, Nana Kwame Adjei-Brenyah mines what’s off about our contemporary moment and combusts it all with surrealism. For example, “Zimmer Land,” set in a racism-themed park, might require reading breaks for its intensity. It’s definitely not comfort reading per se. However, if things are indeed going down the tubes, Adjei-Brenyah’s exhilarating writing makes for excellent, if provocative, reading for the ride. Here’s just one chilling line: “People say ‘sell your soul’ like it’s easy. But your soul is yours and it’s not for sale. Even if you try, it’ll still be there, waiting for you to remember it.”

Should You Watch the TV Show of ‘My Brilliant Friend’ If You Loved the Book?

When HBO announced its plans to adapt My Brilliant Friend, the first of Elena Ferrante’s series of Neapolitan novels, fans were equally excited and trepidatious. Television and film have wrecked many fine pieces of literature — in fact it seems like the better the original, the more disappointing the adaptation — and I heard no shortage of grumbling that our beloved books would be better left alone than made into a miniseries. This sentiment was encouraged by the unique circumstances surrounding the series’ author; since the “real” Elena Ferrante maintains her anonymity behind a pseudonym, she couldn’t show up to production meetings to veto a hack job of her text. Fear spiked when it became known that a man would be directing; the Neapolitan novels are ceaselessly described as a story of female friendship, so how could a man possibly portray them? Relief came after the first episode aired in November and positive reviews flooded in, but now that the eight-part series has finally concluded, the question is: how well did the series portray the novel as a whole? A successful TV show would not only accurately portray the relationship between the two main characters, Lila and Lenu, and faithfully follow the timeline of events, but would capture the style and tone of Elena Ferrante’s writing.

Why Do We Care Who the “Real” Elena Ferrante Is?

My Brilliant Friend is a long book in terms of pages, and a sprawling one in terms of content, so my biggest concern was that the TV series would shortchange the novel’s particular, unhurried cadence in an effort to jam in all the characters and their various plot points. Ferrante writes compulsively readable sentences, yet Elena, as a narrator, takes her time; she muses, reflects, explains. Somehow the director, 43-year-old Saverio Costanzo, fought against what must have been an incredible urge to move from event to event. Throughout, he lets the camera rest on faces and rooms and bodies lying in the street. Uneasy moments, like when the characters as teens are packed in the Solara’s car, seem to go on and on, he lets it seethe with Lila’s defiance, Marcello’s spurned longing, Gigliola’s contempt, Michele’s brutishness, and the discomfort of the other three girls, until you want to stop the car yourself. Despite clearly having a mandate of eight hours total, divided into one hour segments, the episodes feel like Ferrante’s novels: unrushed to tell their tale, as though each chapter could stand on its own as a short story. This feeling is explicitly encouraged in the show by the titles of the episodes: “The Metamorphoses,” for example, or “The Shoes.”

Capturing the feel of Elena’s narrative voice was only one part of the battle. The relationship between Lila and Lenu is the heart of the novels, but it’s a particularly difficult one to capture because it is always shifting. In a relationship marked by extremes, there are moments of intense closeness followed by the fraught emotions, such as jealousy and resentment, that such a closeness can bring. Costanzo relies on long, quiet close-ups to capture these moments as well; the actresses are given the time and space to emote, to subtly grapple with their feelings. In the first episodes this technique is less successful, and when the camera rests on the faces of the young actresses you can see a more obvious attempt at “acting,” but Gaia Girace and Margherita Mazzucco, who play teen Lila and Lenu respectively, both have total command of their expressions, and their faces become a visual representation of what we hear from the grown-up Lenu in the novel, her realization that our feelings are never concrete, rather they are fleeting, conflicting, and confusing. The characters’ complex relationship is also expressed by their physical interactions, which subtly evolve from two young girl’s hands reflexively intertwining in fear as they stand on Don Achille’s doorstep to two newly adult bodies joyfully yet somewhat awkwardly juxtaposed as they practice dancing in Lila’s kitchen.

The relationship between Lila and Lenu is the heart of the novels, but it’s a particularly difficult one to capture because it is always shifting.

Overall Costanzo manages to express the imperfect, fierce, complex nature of the novel’s central friendship, which is a relief given the concerns that a male director could successfully capture a tale of female friendship. Of course Costanzo wasn’t being asked to create a female friendship in a vacuum, he was given ample source material in the books and, as he’s made abundantly clear in interviews, he received firm guidance from Elena Ferrante herself. Costanzo first spoke with Ferrante a decade ago, when he received her blessing to make a film adaptation of her 2006 novella The Lost Daughter. Though that project failed to materialize, he went on to produce other critically acclaimed films which put him at the top of Elena Ferrante’s list of people to direct the adaptation of My Brilliant Friend. And though Ferrante didn’t come to set in person, she did weigh in on all of the scripts, which Costanzo co-wrote with Laura Paolucci and Francesco Piccolo. In short, if you want to argue with the choice of a male director, you have to take it up with the author herself.

Much has been made of the Neapolitan novels’ “revolutionary” portrayal of female friendship, but what people sometimes overlook (and this issue was compounded by the covers of the novels, with their children in butterfly wings and gauzily dressed mothers holding babies) is how much these books are also historical novels. Ferrante isn’t pedantic with her details, but she’s accurate enough that people have identified most places the characters go, sparking Ferrante-themed walking tours around Naples, and throughout the series she addresses everything from Naples’ political parties to the terrible working conditions in its food factories. The television show had to be both historically accurate and generous with its visual details, and it takes pains to do both. Sure, the more clumsy moments of the show come when someone, usually Pasquale, has to explain the historical background of Naples to another character, but he’s really explaining to the viewers, who need to how Naples was devastated during World War II, how the fascists begat the loan sharks, how, logistically, the mafia spreads its suffering. The sets and costumes are outstanding (reading interviews with members of the production team relay the painstaking work that went into every decision) and were brought to life by 150 actors and 5,000 extras. Indeed, it struck me how much more situated in Naples we were in the show, and how certain issues became obvious earlier — the limits and location of the neighborhood, how it compared to other areas of Naples, and the larger criminal elements of the city, for example — as though we were actively being offered a lens through which to view the story. Perhaps Ferrante herself wanted to remind us that it’s a disservice to the characters to approach them in a gendered void.

Perhaps Ferrante herself wanted to remind us that it’s a disservice to the characters to approach them in a gendered void.

One area of the television adaptation that made me pause was the violence, which seemed more intense on the show than in the first novel. Part of that may be inevitable; seeing a little girl thrown out a window, for example, or a man being almost kicked to death, is more arresting than picturing it in my head, where there is no sound, and props must be given to the sound mixer for giving us the bone-chilling auditory, the painful gasps, the thump of flesh hitting concrete, the phlegmy cough of spitting blood. Then there is the editing —this is an incredibly thorough adaptation, but things inevitably had to be cut, and the violence begins to stack up on itself in a more obvious way, while the characters are given less time to recover. This is where the series could have become problematic — it was aired on HBO, where there is never such a thing as too much violence — and as much as I worried about an adaptation that isolated the female friendship, there was also a scenario in which it became a sort of period Sopranos. In the books Lenu’s schooling gets more airtime, when she says she hasn’t seen Lila for a while, we experience what she was doing instead, while on the show we hear little of Lenu’s life away from her friends.

While the novel was streamlined in such a way that violence took more air time in any given episode, the series was ultimately a success because the relationships still took prominence the whole way through. And yes, I do mean relationships, plural, because while the two girls are the heart of the story, the camera doesn’t only have eyes for Lila and Lenu. These are epic family novels, the kind which come with an index of characters in the beginning pages, and Costanzo keeps us aware of the larger community. Take the episode with Stefano Caracci’s New Year’s party. The opening scene hinges on the tension between two characters, Pasquale and Stefano, and could easily have been shot by pushing Lila, Lenu, and Stefano through the door, yet we don’t only see the primaries enter, we see everyone, the mothers and fathers and unnamed children come in, one by one, and give their salutation to the host. Pasquale enters last. This is a small directorial choice, but an example of the important care that the show takes with Ferrante’s work, from first page to last.

Araminta Hall Recommends 5 Books That Aren’t By Men

Araminta Hall’s thriller Our Kind of Cruelty gets deeply into the mind of a man: a stalker convinced that the object of his obsession is sending coded signals of romantic interest, even at her own wedding. But listen, sometimes you want to get deeply outside the mind of a man for a while. Here are the books—some thrillers, some not—that Hall recommends when you want to read something by a woman.

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 your favorite writers.

Deep Water by Patricia Highsmith

The oft-dubbed queen of crime wrote a phenomenal number of tense, sharp psychological thrillers, many of which are some of the most well-known crime novels in literature, such as Strangers on a Train and The Talented Mr. Ripley. All her novels are marvels because character always take center stage, but my favorite is the portrayal of a poisonous, disintegrating marriage in Deep Water. Think Gone Girl set in the ‘50s, complete with a bored, sexually promiscuous housewife and a controlling, troubled husband. Also, it has one of my favorite first paragraphs ever, as it basically lays out the whole story without telling you anything.

The Sea, The Sea by Iris Murdoch

I’m a sucker for a deluded male character and they don’t come much more deluded, but also oddly sympathetic, than Charles Arrowby. When he leaves his theatrical life in London for a remote cottage by the sea he reconnects with his teenage girlfriend and, even though she is married, becomes convinced they are destined to be together. A cast of motley characters descend on him as his delusions spiral and the sea beats away at him. A wildly funny book, it will make you laugh, cry, and think deeply. One of the best first-person character studies I have ever read.

A Vindication of the Rights of Woman by Mary Wollstonecraft

When this book was published in 1792 the word “feminist” didn’t exist, but I think it’s fair to call it the first real feminist text. It is a barn-stormer of a book, shouting loudly for the rights of women to be educated so they can take a proper part in daily life. As Wollstonecraft says, “I have repeatedly asserted, and produced what appeared to me irrefragable arguments drawn from matters of fact, to prove my assertion, that women cannot, by force, be confined to domestic concerns.” Although the laws she was railing against have changed, read this and weep at how little attitudes have. Then get angry and go on a march.

Rebecca by Daphne du Maurier

If you haven’t read this then seriously stop what you’re doing right now and start. To my mind the greatest psychological thriller ever told, it also has a strong feminist message at its heart, revealing the very limited options open to women and how trapped we are by how society chooses to see us. Don’t let anyone tell you it’s a love story; Max de Winter is one of the vilest anti-heroes you will ever read. Also, pay close attention to the first 20 pages, when he is enthralled to our unnamed narrator. A real master class in building and maintaining suspense.

Unless by Carol Shields

Despite her winning a Pulitzer, I have a feeling that Shields isn’t as widely read as she should be because she wrote about so-called ordinary women. We still live in a world in which domesticity is looked down upon, but the women in Shield’s novels rise above these preconceptions to find profound meaning in the everyday. In Unless, a woman’s teenage daughter suddenly decides to live on the streets holding a placard that says one word: “Goodness.” It is one of the best and most affecting pieces of writing on being a wife and mother I have read and is, ultimately, a beautifully uplifting book.

‘The Bus on Thursday’ is a Funny Horror Novel About Cancer

I n the first line of The Bus on Thursday — the latest novel from Australian writer Shirley Barrett — the narrator, Eleanor, discovers a lump in her armpit. Her horror comes true: it’s cancer.

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We follow Eleanor as she undergoes surgery, struggles socially and romantically, and, needing a job, moves to the remote town of Talbingo, where she’s hired as an emergency replacement for a beloved schoolteacher who’s mysteriously disappeared. Along the way, she meets a lively cast of humorous and disturbing locals: a friar who declares her to be full of demons, the missing schoolteacher’s suspicious best friend, and a strangely attractive man of seemingly otherworldly virility. The deeper into the story you go, the darker (and funnier) things get.

The novel — which takes the form of Eleanor’s voicey, unpublished blog — is a romp through literary horror, packed with the stunning images that one might expect from a writer who is also a director. But it also gives life to the crushing reality of a cancer patient — the anger, the grief, the crazy-making self-blame. The Bus on Thursday elegantly rides along the edges of these issues.

Shirley Barrett and I corresponded over email about the demonization of cancer, the challenges faced by cancer patients, and the differences between novel-writing and screenwriting.

Joseph Scapellato: The Bus on Thursday is a darkly comedic combination of a cancer patient/survivor story, a small-town transplant drama, a teetering-into-madness tale, and a genre-bending ride right into the heart of horror. And most impressively, it’s often all of these at once! Where this book began for you?

Shirley Barrett: I was interested in the idea that there is a bit of blame attached to getting cancer: you drank too much, you ate processed meats, you wore underwire bras, therefore you brought this upon yourself with your terrible lifestyle choices. And I particularly liked the idea — popular in some evangelical religions -that cancer is a demonic infestation, if you will, and that perhaps you have unwittingly invited this demon in.

The book began as a screenplay, a screenplay which obviously never got made. I’m a filmmaker and I wanted to make a horror film and I had just the location to set it in: Talbingo! Talbingo is a very pretty little town set in the foothills of the Snowy Mountains here in New South Wales, [Australia], and I happen to know it well as my husband’s grandmother lived there. Every Easter, there would be a regular family gathering, so over the years I’ve spent a bit of time there. I’ve always found location to be very important as a stepping-off point in my writing, and there was something about the moody isolation of this place, even amidst its beauty, that seemed to lend itself to horror.

The novel came from the idea that there is a bit of blame attached to getting cancer: you drank too much, you ate processed meats, you wore underwire bras, therefore you brought this upon yourself with your terrible lifestyle choices.

JS: There are so many ways in which this novel is funny. In my reading of it, the humor pours out of the narrator, Eleanor (her voice, her attitude, her ability to consistently make a bad situation worse), her surprising and mysterious encounters with the sharply-drawn supporting characters, and the novel’s playful engagement with horror.

What is your approach to writing comedy? Where do you try to find it, and how do you work to follow it?

SB: The other big part of the book is my friend Kate. She got cancer very young, at age 29, and had a mastectomy which she freely admits totally stuffed up her life. But she was always very funny, in a dark and angry and uproarious kind of way, whenever she’d talk about it, and at one point I taped her talking about it because I was going to write something else on the subject. And so basically, I appropriated my friend’s voice: in fact, the first paragraph of the book is Kate verbatim. And some of the awful things, like the horrible date, happened to her in slightly different form. She is very decent about the whole thing and is keen for Margot Robbie to play her if it ever gets made into a movie.

But in fairness to Kate, who is in reality a lovely and kind person, Eleanor is also very much me at my worst; lazy, impulsive, quick to judge. As for my approach to writing comedy, everything I write turns out more or less comic — I seem incapable of writing anything else. And I realized that this was at odds with it being truly effective as a horror — the comedy cancels out the horror, in my opinion — so for a while I struggled with that but in the end, I threw up my hands and thought, what will be will be.

JS: One of the things that I admire the most about this novel is how it so honestly enacts certain experiences common to cancer patients/survivors. Early in the novel, Eleanor straightforwardly explains a frustrating expectation:

This is the whole problem with having cancer: everyone expects you to have mysteriously acquired some kind of wisdom out of the experience, and if you haven’t, then it’s a personal failing. I mean, people have actually said to me, “Wow, I guess having cancer so young must have given you a whole new perspective on life?” And I always nod and try to look inscrutable, but in fact, if I am completely honest with myself, I have the same old skewed perspective I’ve always had, except now I get to feel guilty about it.

If that weren’t hard enough to deal with, as the novel goes on, multiple characters covertly or overtly suggest that Eleanor’s cancer is her fault — that she has invited it into her body. This idea eventually takes root in her, and resonates with the novel’s other themes in sinister and surprising ways.

What challenges did you face when writing about a cancer patient? What responsibilities (and/or pressures, and/or fears) did you feel and how did you grapple with them?

SB: I did feel a certain anxiety writing about having cancer when I had never been through such a thing, but I was able to cast this anxiety aside when I went and got cancer myself. In a bad case of the universe having a bit of a laugh at my expense, I was diagnosed with metastatic breast cancer when I was just embarking upon the edit. But in lots of ways, this was useful in that I was able to throw in all my own experiences; the horror of those sinister nuclear scanning machines, the fear of where the cancer will travel to next. I think I would have been really annoyed about it if the book was already published and sitting on a shelf, but I still had time to use what was happening to me creatively. It was quite therapeutic really! In fact, the paragraph you mentioned above I remember writing while I was having chemo.

I did feel a certain anxiety writing about having cancer when I had never been through such a thing, but I was able to cast this anxiety aside when I went and got cancer myself.

JS: I am so sorry to hear this! Are you okay?

SB: Yes, I’m very well, thank you! The drugs are so good these days. If you’re going to get cancer, breast cancer’s one of the better ones — highly researched, well-funded, all the drugs are on the Pharmaceutical Benefits Scheme. Also, I’m fortunate to live in Australia and we have fantastic health care here.

Shirley Barrett Recommends Five Horrifying Books That Aren’t By Men

JS: The Bus on Thursday takes the form of Eleanor’s private blog entries. For some readers, this will bring to mind famous epistolary horror novels — Frankenstein, Dracula. Can you talk about your decision to use this particular first-person form?

SB: I was aware of cancer blogs and thought it would be an effective device for Eleanor to recount this story as it unfolds. In fact, it’s really just a journal because she never puts it up on the internet, and of course later in the novel you think, where could she possibly be finding the time to write all this down? But I try not to worry too much about such things! I like writing in the first person, and I have written enough diaries over the years to know how you tend to express yourself — a free use of caps and exclamation marks, a tendency not to care too much about grammar.

JS: What’s been the book’s reception in Talbingo?

SB: To be honest, I don’t know. The book hasn’t been out long, and I haven’t heard. We no longer have any relatives in the area, and I haven’t been there in a while. I have to say I’m a little nervous about it. It’s such a beautiful spot, I can imagine they’d be aghast at having such a mad story set there.

JS: You’re a filmmaker, too — you’ve worked as a screenwriter and a director. How does your professional experience in film transfer helpfully to novel-writing?

SB: Both my novels began as screenplays, and I think it’s a very laborious but quite effective way of going about it! I guess writing a screenplay is like writing a very elaborate outline, so when you sit down to write the novel, you are free to play — you’ve done a lot of the structural work already, you’ve thought the whole thing through visually. And also, you’ve lived with these characters for a long time. So now you get to unleash! To be honest, I find writing a novel utterly liberating after the constraints of screen-writing. But funnily enough, now I am going through the weird process of transposing it back into screenplay form. I’ve sold the television rights, and I’m writing the pilot. I thought it would be a breeze, but it’s not at all. Having gone from screenplay to book, I have traveled much more into Eleanor’s head — now, going back to screenplay, how do you convey all that without resorting to voiceover?

JS: When you first went from screenplay to novel, what were the most surprising changes that occurred? (And now that you’re going back to a screenplay, for the TV pilot — congrats! — what’s changing that’s surprising you?)

SB: In the original screenplay, I breezed through the cancer stuff very quickly and got to Talbingo quick smart. But when I started writing the novel, I realized there was a lot of rich material to be mined in that whole cancer section and I think it goes a long way in informing why Eleanor responds the way she does to everything that happens in Talbingo. Also, I think it helps her earn some sympathy (my mother would not agree. She has no patience for Eleanor’s whining.) And as I mentioned earlier, transposing the novel back to screenplay form, I am really finding her voice much more challenging to nail. I don’t want her to end up as the snarky smart-mouthed female you see so often on TV. She is snarky and smart-mouthed, of course, but somehow in screenplay form, once you type those letters “V/O”, it just seems…..less than..

JS: What are some favorite novels, screenplays, or films that have meant a great deal to you as a writer?

SB: I would say straight off the bat Robert Aickman, a British fantastic fiction writer of the ‘60’s and ‘70’s. His writing is a huge inspiration to me. I discovered his short story “The Hospice” in an anthology, and I think it’s just one of the most extraordinary pieces I’ve ever read. I re-read it regularly, always in the hope that I’m going to finally figure it out — its meaning feels just tantalizingly out of reach! He seems to successfully manage to juggle humor — a very low-key, dry sort of humor — with a powerful creepiness. If you haven’t already read “The Hospice,” I really recommend it as a Robert Aickman starter. And since we’re talking horror, then I would happily volunteer The Shining and Carrie as my two favorites movies in that genre. I saw Carrie at a preview screening when it first came out and absolutely nobody saw that tag ending coming. My sister slid off her seat onto the floor. It’s an amazing piece of film-making, and still stands up brilliantly today. That Brian de Palma really knew what he was doing.

JS: What have you been reading lately that’s stunned you?

SB: Fever Dream by the Argentinian writer Samantha Schweblin. It has this breathless, urgent pace to it and is absolutely unlike anything I’ve ever read before. It grips you with anxiety and dread from the get-go and doesn’t let up for a moment. Really original and yes, stunning.

JS: Other than the pilot for The Bus on Thursday, what are you working on next?

SB: I’ve just finished a non-fiction piece called Dr. Marshall about a Sydney doctor of the 1900s who had a very lucrative sideline in abortions. I first discovered him in the Morgue Register of the day, because he just kept killing all these young women. He was never convicted, although he faced plenty of charges, and even though he was always in the newspapers appearing at inquests every few months, women continued to go to him.

It’s my first attempt at non-fiction, and I’m hoping I’ll get better at it– one day I hope to write a piece about this conman/fraudster/fabulist of the same period whose name shall remain a secret because I don’t want anyone else to write about him before I do!

Why the New Movies About Queer Friendship Are So Revolutionary

T o judge by what passes for mainstream LGBTQ fare on the big screen, gay stories can be reduced to ones and twos. There are narratives of and for one: those coming out tales that stress a loneliness that needs to be overcome. And then there are narratives all about how those ones become twos: those romantic flicks that stress instead the importance of coupling. Hollywood, like American society at large, is most comfortable with these kinds of stories, because they are anchored by the easiest ways of thinking about gay people: as lone individuals (the friend at work, the cousin who lives in LA, that famous celebrity who came out) or as coupled pairs (that lovely pair who joined the PTA last month, your uncle and his “friend,” that famous now-out celebrity who immediately got married). The former upholds the idea that gay men and women are some sort of unicorn beings, special and worth admiring precisely because of the rarity with which you encounter them. The latter shapes them instead into known quantities, in ways both civil and cultural, that make them legible. But in this focus on ones and twos leaves out — and here my math metaphor is sure to break down — studies of larger groupings, of an LGBT community. What these cinema portraits are missing the most right now are stories of friendship.

Whither are our Bridesmaids and our Girls Trips? Our I Love You Mans and our Trainspottings? Or, more to the point, where are the 21st century responses to films like To Wong Foo, Thanks for Everything, Julie Newmar and the The Broken Hearts Club? To be fair, friendship remains an all-around under-explored terrain on the big screen. Those connections, because of their tenuousness and ephemerality, tend to be undervalued. Which brings us back to the ones and twos: we have plenty of stories about the power of the individual and, in turn, about the power of love. They’re the building blocks of two of the most well-trodden genres out there: the bildungsroman and the romance. But the absence is more glaaring when it comes to queer narratives. To understand why, we have to unpack the way those narrative templates reflect and construct society as we know it today: a society that relies on familial ties and capitalist ideals, the two often walking hand in hand down an aisle and on to a suburban home with a picket fence.

If the stories we tell help model the kind of people we can aspire to become, the messages being sent to queer kids right now leave them at the mercy of self-contained coming-out stories or romances that focus on pair-bonding above all else. That is to say, even as movies like Moonlight and Call Me By Your Name and Carol and Love, Simon (to name but a few of the more talked-about LGBTQ films of the last couple of years) preach necessary lessons about love of self and love of the other, I’ve begun to wonder where are all the films that call forth a greater sense of friendship, of communion. I could turn to TV, of course, where landmark shows like The L Word, Noah’s Arc, Queer as Folk, Looking and Pose have painted fascinating portraits of modern-day queer friendships. And I could likely seek out novels like Dancer from the Dance, Stone Butch Blues, A Little Life, and most recently, The Great Believers, all fascinating looks at clusters of queer friends. But if I’m hung up on films it is because they still dominate so much of our collective consciousness. I want more big-screen images of queer people hanging out, not (merely) longing for one another but attending activists meetings, grabbing coffee, having a drink, partying, or any number of other mundane things we do when we get together.

Thankfully, 2018 may have given us glimpses of what that can look like. In what’s likely to be another watershed moment for LGBTQ representation, films like The Miseducation of Cameron Post, Boy Erased and especially Can You Ever Forgive Me? — all, perhaps unsurprisingly, based on novels and memoirs — managed to put the importance of queer friendships front and center. That may sound a bit hard to believe in the case of the first two: they are based on books that deal in ways both wry and blunt with gay conversion therapy, not the kind of setting one would dream of finding portrayals of queer friendships. But in their own ways they at least gesture towards the value of having people in your life who understand what you’re going through.

Both the eponymous protagonist of The Miseducation of Cameron Post and Garrard Conley’s autobiographical avatar in Boy Erased arrive at their respective “ex-gay” therapy camps because of a flirtatious encounter with a friend that went too far. Their stories feel familiar to many of us who grew up questioning our own sexuality, and who feared and were drawn to the possibility that a close friendship would turn into something else. If films were to offer us more portrayals of queer friendships, more images of non-romantic relationships between gay men and women, we could more easily push back against the kind of conflation that runs through much of the rhetoric in conversion therapy, which sees homosexuality as a predatory practice and gay friends as lurid and alluring sexual traps.

As Conley writes in Boy Erased, one of the pamphlets he first encountered when he attended the Love in Action camp included a testimonial from a boy who’d gone through the program: “I began to recover from not having a male friend unless it involved sex,” it reads. “I started learning who I really was, instead of the false personality I created to make myself acceptable.” This is the kind of fallacy that’s easy to absorb when all the kinds of stories about gay life center on ones and twos: on what you think when you’re alone and what you hope to do when you find someone like you. The idea that every same-sex friendly encounter is a potential slippery slope into sex is perpetuated if we don’t have room (or readily-available images!) to imagine what other kinds of connections can be made within the gay community. This is precisely what Cameron (played in the film by Chloe Grace Moretz) learns when her friend Coley, with whom she’d developed a sexual relationship (the incident which sent her to the “God’s Promise” camp in the first place) sends her a letter re-framing her yearslong friendship: “Dear Cameron,” the letter reads, “I am writing this letter because Pastor Crawford and my mother think it is a good thing for me to do. I am currently working through what happened between us, as I know you are too, but I am very angry at you for taking advantage of our friendship in the ways you did.”

It is Cameron’s friendships while at God’s Promise, with fellow “sinners” Jane (Sasha Lane) and Adam (Forrest Goodluck), that drive the narrative in Desiree Akhavan’s film. It is the image of them setting out on their own (a final image spoiled by the film’s poster) that the director leaves us with, a reminder that such support networks are necessary to survive.

That’s precisely what you see in Marielle Heller’s booze-soaked adaptation of Lee Israel’s memoir Can You Ever Forgive Me? Ostensibly a film about the literary scams Israel (Melissa McCarthy) ran with the eventual help of her friend, the homeless dandy-esque Jack Hock (Richard E. Grant), Heller’s is a portrait of two lonely people leaning on one another when everything around them feels like a rebuke to everything they are. Israel’s loneliness — she lives alone with her cat and can’t get her agent to answer her calls, let alone sell that Fanny Bryce biography she’s been working on for years — is neither a symptom nor a consequence of her attraction to women, but it feels tied to it somehow. Similarly, Hock’s struggles — he’s a jack-of-all-trades who makes a buck however he can, including selling drugs and eventually Lee’s letters, and seemingly prefers having no intimate ties with those he sleeps with — are not presented as mere consequences of his being an out gay man, but neither are they altogether divorced from that fact.

The scenes between the two of them at Julius, the famed (and still standing!) gay bar in the West Village, are some of the more memorable in the film. That’s because they feel particularly radical. The two bicker. They share drinks. They hack schemes. They commiserate about lovers. It’s like something out of a gay Cheers, refreshing precisely because of its mundanity. Even in their final moments together, when they return to that old haunt and reconnect after arrests, warrants, and a health diagnosis have torn them apart, their melancholy repartee made me wish I saw this kind of fraught but nurturing relationship within the LGBTQ community more often. Here is, at last, a story I couldn’t neatly break down into a self-actualizing story about a lesbian or into an uplifting narrative about same-sex attraction.

We need more stories about queer friendship. Stories like Israel’s which put the importance of what it means to rely on and support someone who may have, just like you, lost contact with family and partners because of who you are. We need these stories not just because such friendships are necessary, but because sometimes we only know a story is possible if we see it reflected in the culture. “And was friendship that different in the end from love?” writes one of the gay narrators of Rebecca Makkai’s The Great Believers, one of the year’s most sprawling portraits of what queer friendship looks like. “You took the possibility of sex out of it, and it was all about the moment anyway. Being here, right now, in someone’s life. Making room for someone in yours.”