How to Write Your Debut Book’s Acknowledgments Section

“It was traumatic.” “I had nightmares.” “It set me back six months in therapy.” Debut authors report struggling to compose acknowledgments, those seemingly endless strings of grateful-fors and without-whoms. While writing acknowledgments for We Love Anderson Cooper, my debut short story collection, I, too, wrestled with questions. Thanks to this no-nonsense guide, you won’t have to.

The number one problem you’ll encounter writing acknowledgments is running out of ways to say “thank you.” Might I suggest any or all of the following alternatives: I’m much obliged to A; shoutout to B; I’ve added C to my will; I’ve promised my first born to X; I’m planning to tongue kiss Y, and might already have.

The next obstacle you’ll face is deciding who to include. For example, do you mention your fourth-grade teacher who hung up your poem rather than Stacy Goodman’s? (Yes.) What about the lactation nurse who fact-checked a detail in chapter three of your novel? (Definitely.) Arianna, the member of your writing group who never returned comments because her computer was always “broken”? This is a tricky one. You’ll be tempted to leave Arianna out. But the answer, again, is definitely yes. There is frankly no one you shouldn’t list in the acknowledgments. Make sure to mention it casually to them all, and they’re sure to buy copies of your book.

Do you mention your fourth-grade teacher who hung up your poem rather than Stacy Goodman’s? (Yes.) What about the lactation nurse who fact-checked a detail in chapter three of your novel? (Definitely.)

But what about Famous Author who blurbed the book? Should she be included, too? Won’t people realize she said those nice things only because she’s your sister-in-law? They will realize that, but too late! By the time they read the acknowledgments, they’ll already have purchased a copy.

Another dilemma is in what order to list people. Is naming someone early in the acknowledgments a greater honor that naming someone later? No doubt that’s true, but my God, what do people want from you? Isn’t it enough they’re listed at all when all they did was hang your stupid poem? At this point in writing your acknowledgments, you should see what mood stabilizers you have in your medicine cabinet. Fix a nonlethal combination and chase it with Glenlivet. Work on your next book for a day or two before returning to the acknowledgments.

“What if I dedicate the book to my partner?” you might ask. “Should I include them in the acknowledgments, too?” I guess you weren’t listening when I just said no one should be left out. Or maybe you don’t love your partner enough to list them in both sections.

Is naming someone early in the acknowledgments a greater honor that naming someone later? No doubt that’s true, but my God, what do people want from you?

Finally, the tone of your acknowledgments should match the tone of your book. If the book is light, you might begin, “It’s a glorious day as I sit down to pen these thanks, the dog napping on my shoe, the cat smiling at me from the top of the Hanukkah bush.” For a heartfelt work, “I’m positively overwhelmed with gratitude. I’ll need a minute.” If the book is dark, a different approach is warranted. Try, “It will be a miracle if I live to see this thing in print,” or, “Aren’t we all essentially alone?”

I hope this guide to writing acknowledgments has been helpful. If it has, maybe you’ll include me in the acknowledgments of your next book. I hardly think that’s too much to ask.

A Changeling in My Own Skin

As a kid I imagined my real home was some magic place — that maybe I wasn’t even human. When I found old piles of stones, they seemed not just mysterious but meaningful. Climbing through snarling blackberry brambles into the woods, I was paying attention. (Remarkable for me then.) I was looking for echoes of stories: places where selkies were trapped but might find their ways home. Where weird girls and women — as I was told I must be — could be witches instead of just crazy. Where an owl might give me a life-changing letter, where anything could be a doorway to a different fate. Where if you joined the dead’s dance you might never leave. Would I want to? I wasn’t sure.

I had plenty of models for my half-serious conviction that I belonged to some other realm. Folklore and fantasy are full of characters claiming their identity and becoming other than what they seemed. From changelings to selkies to The Little Mermaid, they persist. Some recent urban fantasy is both extending and transforming that tradition with an inclusivity that is deeply true to it in some ways. Folklore — which includes fact and fiction — is not decided by cultural authorities. The stories most fantasy draws on have been passed along by everyday people. Gatekeeping breaks the spirit of that tradition.

The traditional idea of a changeling is not literally about a transformation. It’s about replacement and loss: a human child is replaced with something else that’s unwanted. A changeling could be an ugly, distorted one of the good folk themselves, or something that was never alive at all — just a wooden doll.

The traditional idea of a changeling is not literally about a transformation. It’s about replacement and loss: a human child is replaced with something else that’s unwanted.

Historically, someone might be accused of being a changeling if their family considered them shameful, deformed, or unwanted. Sometimes, it was an excuse for abandonment or violence against a family member. The case of Bridget Cleary is one horrific example — she was murdered by her husband and he got away with it because he seemed to really believe she’d been replaced.

These stories resonated with me, because I knew I was weird, and I didn’t really know why. I knew I was bi, but that didn’t explain enough. I didn’t know why I felt lost when at school we were split into gendered groups, or why the body language and outfits that seemed natural for others felt like acting in costume. I was happiest drawing or reading alone, or exploring the woods by my house where no one could see or categorize me. No one fits gender stereotypes fully, but even when I knew I could be a bi gender-nonconforming girl my shape and identity didn’t feel like my own.

I was about fourteen before I met other trans people at summer camp and realized that maybe this was the mythical “other world” where I might fit. I remember sitting on the floor of a crowded LGBTQIA+ group my first year at camp, too nervous to speak. Introducing oneself was optional, andI was afraid of being seen as an impostor. What if I didn’t belong here, either? But I started to suspect I might. And eventually I found names for what I was. I still daydreamed for years about finding my way back to somewhere else — but then it was sometimes summer camp that I pictured, not just fantasy.

Discovering why I felt like a changeling didn’t end my social isolation. I had a few amazing friends, but that didn’t take the sting away from being called “it” by classmates, or having my notebooks stolen, or having people pretend not to hear me speak (especially if I’d corrected their use of pronouns). I remember barely sleeping in my efforts to be good enough at school and art and everything else to make up for who I actually was. But I had some hope of my life improving again, and knew that even if I was somehow not made for the world I found myself in, it didn’t definitively make me a monster. So I would live differently; at least it was something.

Seeing other people like me who could survive, and even be happy, in this world helped me think I could exist fully here. But I still was sure I had something to prove, and I still couldn’t explain all of the wrongness I sometimes felt, especially my desperation to be anywhere but where I was. I still sometimes wished I was actually from somewhere else where I fit, even if I could never go back there.

I spent more time in the woods, and read the ghost stories I remembered from when I was younger. I especially sought out stories about selkies, seal-women who were sometimes trapped on land, because they weren’t evil and often they returned to the sea someday. There were no happy endings, but at least if I was like the selkies, then being other wouldn’t mean being horrifying. It hurt to feel inhuman, unwelcome by humanity, because I didn’t meet other people’s expectations. Changeling stories made it less painful. There wasn’t a place in this world for me, but maybe in another world there could be.

There wasn’t a place in this world for me, but maybe in another world there could be.

When I got to college, I found both community with other trans people, and a new kind of changeling story: stories written by the changeling herself.

At college I was consistently among trans people, and it was like the world shifted under my feet. For the first time I got used to not being out of place because of my gender. I slowly, awkwardly learned how to let myself be a distinct person for who I was beyond that. Changelings in stories are faced with tests of humanity, and I had felt like every interaction was a test of my own. Finally, though, I knew there was no actual failing answer.

Sometimes I still felt like I was being tested, but I had new narratives to back up my own confidence. One of them was a new variation on the changeling story. The October Daye series wasn’t about a human family dealing with a changeling, but was written from the changeling’s own perspective. I remembered the first book, and started the rest, right as I began a semester in a new country with completely new people. Living in Dublin, Ireland was the safest I had ever felt, but it was also extremely lonely at first. It had been three years since I was the only trans person I knew at school. Old fears of wrongness tried to come back with the isolation.

When I couldn’t sleep from anxiety, I would instead listen to audiobooks of October Daye’s adventures clumsily navigating both the human world and Faerie, and feel more comfortable with my own uncertainty. I was struggling all over again with how much to try and blend in. Who to tell my actual identity to, who I could try and be friends with, when it was safe not to pass (more often than it had been, which was in its own way hard to get used to). Those were all problems October (also called Toby) had, but in different enough ways that it was still escapist for me as well.

The changeling protagonist October is constantly pulled between two worlds. Born to a fae mother and a human father, she’s not entirely accepted as either. That echoed how I felt being non-binary. At the time even in online trans communities there was pressure to say one was masc or femme, or even “female-aligned” or “male-aligned.” For me, though, only the ambiguity of words like non-binary fit; I was just me, and I still am. And for Toby and for a lot of trans people, neither world is run with people like her in mind, let alone in power. Nearly every time I have to fill out a form or talk to a stranger, I have to pretend alongside everyone else that people like me don’t exist. It’s rare that we get the chance to change that system a bit. That parallels a lot of queer and other marginalized experiences. What stands out though is how Toby stays in between. She has to make choices, and she does, but she doesn’t become what’s expected of her. She finds her own answers.

Like changelings in folklore, Toby is used as a replacement. Not considered good enough — fae enough — to be more than temporary, Toby is pushed to choose mortality. It’s Toby’s own fae mother though, not a human one, who no longer wants her when she resists. It’s a twist on the tale, but as in the older changeling stories of folklore, Toby is still blamed for not meeting the expectations of her family.

Toby is pulled back and forth from humanity to Faerie against her will, multiple times. She keeps trying to find her balance anyway, often in the mundane ways many of us do. When she’s less able to use magic than most fae, she relies on marsh-water charms and sheer stubbornness instead. She could live in Faerie and not have to wear a disguise, but it wouldn’t be on her own terms. Reading as a non-binary person, I felt for Toby every time someone tells her she should have been more of one thing or of the other. There is no right answer for the rest of the world.

The changeling protagonist is constantly pulled between two worlds. That echoed how I felt being non-binary.

Part of Toby’s choice is a choice between parents and homes. When she chooses fae, her human father thinks she’s died. In folklore being taken by the fair folk is often essentially a death. But Toby isn’t dead — just different than she seemed. Parents of trans kids sometimes lament that it feels like a son or daughter has died, or insist with more kind-sounding rejection that their child will always be their son or their daughter, instead of what they actually are. The problem for so many of us, and for Toby, is not who we are. It’s what other people can see us as.

The October Daye series takes the theme of not belonging and switches the perspective, makes it into something deeply empathetic. There are things Toby can’t do that other fae can. She has to find who she is and how she works on her own terms. But her perspective as a changeling leads her to answers someone else wouldn’t. She’s not a particularly talented detective, but she’s willing to question assumptions.

Her story doesn’t end with rejection. It starts with rejection, and then she makes hers a different story. She’s not on her own; she also finds her own sort of family, a bit at a time.

In real life rejection is commonplace for trans people. But for me it was less painful to see that in Toby. If it happened to the trans character that collective trauma would be thrown back in our faces for what feels like the millionth time. When McGuire writes it happening for different reasons than usual, it’s easier to look closely at. It’s like seeing deeper into calm waters then you could in a churning storm.

There are other new stories being told that draw on the same kind of folklore. My focus is on this series largely because it’s what I’ve read the most of so far, but also because it also has more to say than I could skim the surface of here. McGuire’s extensive knowledge of Irish and Scottish folklore is apparent, and she uses it brilliantly. She doesn’t leave old stories in their past forms only. Instead she grows vital new worlds from them. From stories that mostly had pain for some of us, new stories can include possibility.

Being something unexpected isn’t a weakness, even when it’s stressful. Sometimes — and this is how I usually feel about being trans and non-binary now — it’s pretty special. The oft-made point that we’re normal people is vital and true. I’ve found too though, since starting to discover my trans identity from the strangeness that first made me feel like a changeling, that it’s not the whole story. Finding our own identity, new perspectives, and new community can be magical.

Adapting folklore and creating new stories, as McGuire has, helps with that discovery. I only hope that more of us create worlds so welcoming — in the stories we tell and in real life.

8 Books About Women and Addiction That Are at Least as Good as Bukowski

In literature, the addiction narrative has become a genre unto itself. Populated by a variety of counterculture antiheroes, the addict narrative has given birth to a range of admired weirdos, spastic “cools” and philosophical lone wolves. The stories range from the absurdly surreal (Hunter S. Thompson’s Fear and Loathing in Las Vegas), to the beautifully haunting (Denis Johnson’s Jesus’ Son) to the comically tragic (Jay McInerney’s Bright Lights Big City) to the sentimental and overwrought (James Frey’s A Million Little Pieces)But what they all have in common is that their protagonists are men.

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Female-driven addiction narratives are much rarer, and different in tone; they eschew the lone wolf, the zany ’60s acid-test journey, the psyche’s abyss into self discovery and heroic downfall. Instead they prey on our deepest fears, our collective Mother Hunger, as it’s known in psychiatric circles. Mother Hunger is a deep maternal wound caused by a mother who emotionally or physically abandons her daughter, and it’s been credited with producing a legion of wounded women. These undervalued and improperly-loved women in turn become monstrous. They awaken our anxieties both about our own pasts and about the future; we fear that they too will be bad mothers, stewards of a motherless earth strangling to death on its patriarchal noose. We are both pulled and repulsed by the female addict.

The Space Between Addiction and Recovery

Becoming an addict means deciding, consciously or otherwise, to let slide the obligations of life. But when women commit to addiction they do one better: they drop out. This doesn’t always mean that they quit their jobs or check out of society; rather, they drop out of a patriarchal hierarchy, the agreement made upon entering adolescence that they will be virtuous and maternal, self-sacrificing and tender. The female addict takes her body back from patriarchal demands and feeds it to destruction. To devote one’s life to substances is to trash it all. It is to say, “I don’t care,” and no one is supposed to care more than mom. That’s why Earth got sucker punched into being a mother, and we feel so comfortable trashing her. The female addict often reeks of petulance and narcissism in a culture selling puritanical female piety. She flies the plane of her body, her female currency, into the ground. For this reason the female addiction narrative should be celebrated.

None of these observations argue for an increase in female addicts, only that we allow the female drug narrative out of the closet and offer them a spot next to the Thompsons and Bukowskis. Addicts are selfish and self centered, brutal to those around them and most of all themselves. In this way the female driven addiction narrative is often told from the perspective of highly intelligent, exhausted women, tired of trying, burdened by knowing, seeing and living. Let us celebrate the diversity of their voices.

Here is a list of some sloppy broads.

Zippermouth by Laurie Weeks

Laurie Weeks has one novel, one short story in the iconic Semiotext(e) compendium The New Fuck You: Adventures in Lesbian Reading, Debbie’s Barium Swallow, and one screenplay, Boys Don’t Cry — and yet this is enough to place her in the category of greatest living writers. She’s that good. Laurie Weeks is a sentence tornado, taking you out before you’ve had time to grab your things. You thought you were running for the basement but actually you were swirling through mid-air staring into the petrified eyes of a family cow which has taken flight. Zippermouth introduces us to its nameless heroine, a copy editor junkie employed at a big New York publishing house whose ludicrous insights on how to get through life are a funhouse of tight, expertly written sentences. Weeks’ novel is driven by voice, seeped in weird and flourishing with absurdity.

A Piece of Cake by Cupcake Brown

It’s difficult to define Cupcake Brown’s memoir as devastating, although certainly it is, but it is also so much more. Scarred as a girl by finding her mother’s dead body in bed, Brown moves to South Central to live with family, joins the Crips, follows her addictions into prostitution and hitchhikes up the coast on LSD following rock bands with a myriad of other squalors. Along the way she weaves her strange tale with vivid imagery. Brown’s voice crackles with humor, superb original observations about life at the margins, and the ability to build a scene with such deft skill you can see each character, hear the timbre of their voices and smell the Jean Nate on the wrists of the teenage prostitute junkies who pepper the book. Take for instance the opening chapter in which an eleven year old Cupcake discovers her mother’s lifeless body:

I began to cry again and Daddy reached over and turned the radio off. But it was too late. That was now our song; Mamma’s and my song. “Chain of Fools” would be our live song and “Breaking Up Is Hard To Do” our death song.

Shit, I thought. Life sucks.

Drenched in 1970s and ’80s slang and cultural references, the book bounces with life. Brown paints a picture of a dour girlhood caught in limbo and nearing the tipping point.

Go Ask Alice by Anonymous

Go Ask Alice gets shit on a lot and I have no idea why. This book is excellent, a mood and vernacular masterpiece. Originally marketed as the “found” journal of a teenage junkie and her slow descent into the abyss, it was later discovered to have been written by a social worker in her 30s named Beatrice Sparks. I mean, are you kidding me? This thing was bound for infamy the moment it was birthed from the ethereal into our dimension. To start with, it is utterly ridiculous. Nothing in this book is moving or poignant in the traditional sense; what it is is a blueprint for snotty petulant teen speak that later took over the world and came to be known as Valley talk. This thing might be the birthplace of like. Ya know what I mean? Our narrator is such a complainer, such a brat, such a teenager I was truly surprised upon learning in high school that the author was actually an adult. It’s virtually impossible to have empathy for our protagonist — she’s wretched and annoying — but she’s also a master of rhythm and a terrific wordsmith. Each sentence of nonsense folds into the next with an urgency only a teenager could muster. It’s all so frightfully important! From the opening chapter:

Yesterday I remember thinking I was the happiest person in the whole earth, in the galaxy, in all God’s creation. Could that only have been yesterday or was it endless light-years ago? I was thinking that that the grass had never smelled grassier, the sky had never seemed so high. Now it’s all smashed down upon my head and I wish I could just melt into the blaaaa-ness of the universe and cease to exist.

This is how we meet our protagonist, who is reacting to someone named Roger not looking at her in the hallway. Who’s Roger? Absolutely no one. Are any of us really anybody? I mean, are we even really here? Named for a lyric from the Jefferson Airplane song White Rabbit, Go Ask Alice is a revelation and the first of its kind, an obvious predecessor to Less Than Zero and other lost youth novels that followed. Get totally lost in it.

Cha-Ching! by Ali Liebegott

Ali Liebegott is a heartbreaker. Her novels and poetry collections are sure to leave you gutted. Be careful not to read them when feeling on top of the world. Going through a difficult time and want literary company? Pick up Cha-Ching! Theo, Cha-Ching!’s narrator is young, queer, new to New York and formerly deeply alcoholic in the way that the word “functioning” means getting out of bed in the morning or maybe afternoon. Now a gambling addict, Theo maneuvers the city looking for work and searching for community while forever pressing her nose up against the glass window of Love. Liebegott understands what it is to be lonely, worn out, and still digging from the dry well of hope. This novel will give you the feels. Luckily it’s also funny and packed with rich scenes sure to make your read worth the journey.

Candy by Mian Mian

Mian Mian is so rad. Banned in China, Candy is a fruit loop of rave bracelets, puke, and insanity. Part of the Chinese post-’70s generation literary movement, Mian Mian is a bona-fide rock star, a true literary wunderkind, and with good reason. Translated by Andrea Lingenfelter, Candy is a tale of a post Mao 1980’s teenager named Hong who succumbs to an increasingly rampant underbelly of Chinese westernized subculture. Based in Shanghai and later Shenzhen the novel explores sex, drugs and rock and roll, told in Mian Mian’s incredibly strange, beautiful and uniquely lyrical sentences:

Strange days overtook me, and I grew idle. I let myself go, feeling that I had more time on my hands than I knew what to do with. Indolence made my voice gravelly. I started to explore my body, either in front of the mirror or at my desk. I had no desire to understand it—I only wanted to experience it.

It has been said by some critics that the novel has an apolitical call to action. A loss of hope for reform and China’s 1980s politics. In this miasma of alleys and sketchy nightclubs our teenage and later twenties protagonist, Hong, falls deeper into the rabbit hole of addiction and psychedelic experiences, one rolling into the next. It’s unclear what she is escaping but whatever it is it’s an anxiety forever pulsating and breathing. Eventually Hong struggles to get sober and becomes a writer. Is this her story we’re reading? That’s for us to decide. A true masterwork of the ick, Candy is a page turner.

Black Wave by Michelle Tea

Michelle Tea is no stranger to the addiction narrative, Valencia and Rent Girl being two of her best. In fact she is in many ways the foremother of the female addiction narrative and responsible for any burgeoning popularity or appeal it might have amongst millennials currently. So it would make sense that Tea’s latest novel Black Wave does more than simply tell a tale of addiction. Rather, it slowly submerges you into a surrealist New Narrative world of the magically real. As our narrator, also Michelle, slips deeper into psychosis, so too does the text until everything crescendos into a wail of tectonic proportions. Los Angeles comes alive in filthy strokes of absurd genius. Agents, writers, Pink Dot delivery men, siblings even the sun plays a role in the end. There is no real way to prepare the reader for what to expect. The expression “it’s a trip” was truly created to describe Black Wave, and Tea buckles us in on the very first sentence.

Lady Sings the Blues by Billie Holiday with William Duffy

Holiday’s 1956 memoir—later adapted into the equally arresting and wonderful film of the same name, starring the one and only Diana Ross as Holiday—was one of the first publicly acknowledged books about female addiction. Billie Holiday was such a monumental and important figure in United States history that it’s terrible to remember that she spent the better half of her life struggling with heroin addiction. Holiday’s memoir chronicles a life of adversity, triumphing over racism and poverty to reach the dazzling creative and groundbreaking heights her genre-defining career achieved. A quick glance at this list will also show there are only two other books by women of color, and just as I’m calling for a wider berth of female-driven addiction narratives that move beyond the trope of mother hunger, we also need a tradition of addiction narratives that include more female voices of color. Middle class, poor, tricking or sleeping in alleys, the white female drug addict seems to fill the small bit of shelf space the female addiction narrative has been given to begin with. It’s important to know that addiction happens in all communities across race and class. May this selection also be a call for a wider array of truly diverse female voices.

Valley of the Dolls by Jaqueline Susann

And so we end at the beginning. The first novel to unintentionally toy with addiction camp and Go Ask Alice’s very serious predecessor. Jacqueline Susann’s epic soap opera about New York socialites, a secretary-turned-perfume-model-turned supermodel-turned-star, and a struggling actress trying to break it big was the hit of the late 1960s. Dressed as The Bell Jar, a true tour de force, but reading like a cheap script Neely might be handed at an audition, Valley of the Dolls reeks of romance novel hooey disguised as second-wave Helen Gurley Brown glass ceiling protofeminism. As our protagonists fall deeper into the grip of their dolls the reader is treated to lush sentimental scenery, heavy-handed and clunky dialogue, and poorly-written sex scenes and tantrums. If you ever plan to go on a female addiction narrative binge, be sure to start here.

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.

Click to enlarge

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.