Electric Lit’s 20 Best Novels of 2018

D o books still matter in a year when everything seems to be falling apart? Well, Rebecca Makkai, author of The Great Believers, says yes. “I write best angry. Don’t you?” she wrote in an essay for Electric Literature. “I write best desperate, I write best heartbroken, I write best with my pulse throbbing in my neck.” Based on where her book ended up on this list, she knows what she’s talking about.

If you read best angry, this was a great year for it. If you don’t, well, make the most of your limited attention span by prioritizing the novels that Electric Lit staff and contributors voted for as the best of the year. (Read to the bottom for our top pick!)

Novels not your thing? Check out the short story collections and nonfiction books we voted for!

Self-Portrait with Boy by Rachel Lyon

In this powerful novel about the ethics of art, a photographer accidentally captures an image of a boy falling to his death. Read our interview with Rachel Lyon.

The Golden State by Lydia Kiesling

National Book Foundation 5 Under 35 honoree Kiesling’s timely novel centers on a young mother whose immigrant husband is prevented from reentering the U.S., and the group of California secessionists she encounters in his absence. Find out the five books by non-men Lydia Kiesling recommends.

My Year of Rest and Relaxation by Ottessa Moshfegh

What if you could just sleep through everything unpleasant in your life? The narrator of Moshfegh’s novel resolves to try. Read our interview with Ottessa Moshfegh, and an essay about why My Year of Rest and Relaxation is a ’90s novel.

French Exit by Patrick deWitt

A sort of upper-class Confederacy of Dunces, French Exit is a satirical story of a wealthy mother and son with a Paris apartment, Arrested Development-level baggage, and a cat who’s harboring a secret. Read our interview with Patrick deWitt.

The Witch Elm by Tana French

French’s first book outside her Dublin Murder Squad series is about a young man with a traumatic brain injury, and what happens when a decades-old skeleton is discovered in a tree on his family property. We talked to French about how her novel explores white male privilege.

Invitation to a Bonfire by Adrienne Celt

This luminously-written book is inspired by Vladimir Nabokov’s relationship with his wife Vera, and his affair with a young woman who worked for them. Seamlessly Nabokovian letters from the Nabokov analogue are a high point. Read an essay about Nabokov by Adrienne Celt.

Crudo by Olivia Laing

A Kathy Acker-esque writer (also named Kathy) navigates the challenges of the modern era: social media, fascism, global warming, and wedding planning. Read an essay about why Crudo is more effective than Jonathan Franzen’s The End of the End of the Earth.

Asymmetry by Lisa Halliday

Halliday illuminates the way power operates in our lives with two deftly-handled narratives: one about a young editor’s romance with a famous older writer, and one about an Iraqi American man detained by immigration officials in the U.K.

The Pisces by Melissa Broder

This is the one about the woman boning down with a merman. Read our interview with Melissa Broder, or an essay about why women in pop culture are suddenly having so much sex with fish.

The Incendiaries by R.O. Kwon

Kwon’s debut novel, about a college-age couple and a cult, illuminates the twin passions of young love and religious zealotry. Read our interview with R.O. Kwon about writing and faith.

Circe by Madeline Miller

Nobody updates Classical literature like Madeline Miller, and her reimagining of the Odyssey from the perspective of demigoddess Circe is riveting, devastating, and—for a book about ancient Greece—surprisingly timely. Read an essay about how Circe seizes the power of storytelling.

The Friend by Sigrid Nunez

The winner of this year’s National Book Award, Nunez’s poignant novel is about the love between a sad writer and a sad giant dog.

Freshwater by Akwaeke Emezi

5 Under 35 honoree Emezi’s debut novel focuses on Ada, a troubled young Nigerian woman inhabited by Igbo gods. Read our interview with Akwaeke Emezi.

There There by Tommy Orange

The multiple viewpoint characters of There There, coming together for a powwow in Oakland, California, represent a wide range of ways to be a Native—not to mention ways to be a human. Read an interview with Tommy Orange about being a voice for urban Native Americans.

Confessions of the Fox by Jordy Rosenberg

Eighteenth-century thief Jack Sheppard, the man at the center of Rosenberg’s novel, was a real person—but Rosenberg gives him an imagined backstory that invests him with new depth, sexiness, and intellect. Read an interview with Jordy Rosenberg about writing new trans narratives.

Convenience Store Woman by Sayaka Murata

This odd, spare, charming novella is narrated by a woman who feels more connected to the convenience store where she works than to most other people. Read an interview with the translator of Convenience Store Woman.

Severance by Ling Ma

A pandemic has hit, and everyone’s evacuated New York except Candace Chen, a twentysomething working for an exploitative publishing firm. This sharp, funny post-apocalypse is a Millennial Station Eleven with capitalism in its crosshairs. Read our interview with Ling Ma.

The Third Hotel by Laura van den Berg

This surreal, atmospheric ghost story immerses the reader in its settings, both physical (Havana) and emotional (grief). Read an interview with Laura van den Berg.

An American Marriage by Tayari Jones

What happens to a marriage interrupted by injustice? When Roy is sent to prison for a crime he didn’t commit, it upends his relationship with Celestial—and when his conviction is overturned, it throws them into chaos again. Read an interview with Tayari Jones, and find out which five books by women she recommends.

The Great Believers by Rebecca Makkai

Makkai brings the emotional devastation and long-lasting effects of the 1980s AIDS crisis into heartbreaking focus in a novel that follows two friends over 30 years. If you cry at the end (you will), don’t worry: in our interview with Makkai, the author says she cried too.

A Gift Guide for the Writer with Affluenza Who Has Everything But a Book Deal

Are you a trust-fund baby who finds pleasure in setting cash ablaze? Or are you at least shopping for one? Good news! We have curated this gift guide for writers with affluenza inspired by the lifestyle experts at Goop. No inserting gemstones up orifices necessary! (Although are you sure you wouldn’t write better with a rock up your chach?)

Tushy the Detachable Bidet ($69) for the Writer Who Spends a Lot of Time on the Toilet

Do your best ideas materialize as you’re hunched on the toilet seat suffering from irritable bowel syndrome? Enter Tushy, the detachable bidet which will free your hands to scribble down that spark of genius on toilet paper before it fades from your mind forever.

Banana Lamp ($340) for the Writer Struggling to Find Symbolism

This banana-shaped lamp serves the dual purpose of illuminating light as you scrawl down the pages of your experimental novel on handcrafted Italian-marbled paper and providing inspiration for all the heavy-handed phallic symbols that every Great American Novel must have. (No yonic symbols though because vaginas are gross and should be thoroughly steamed after use.)

Shine Paper 24K Gold Rolling Papers ($50) for the Writer Who Loves Weed and Bling

Smoking weed makes you a great writer. This is an undeniable, concrete fact. Boost your creativity by rolling your own with these 24K gold rolling papers handcrafted with the finest edible gold. Don’t just be at the literary party. Be the literary party.

Rolex ($10,395.00) for the Writer Who Needs a Deadline Extension

Is your pesky editor haranguing you with endless texts of “when are you going to hand in that draft, it’s been five years now?” With a yellow-gold Rolex on your wrist, you can ever-so-subtly point out that you can’t possibly meet your editor’s deadlines because fine art takes time and time is a Western construct that doesn’t actually exist and really, your editor is being a racist imperialist by imposing his absurd worldviews on you.

Questions & Empathy Card Deck ($25) for the Writer Who Is a Sociopath

We hate to break it to you, but if you’re a writer, you may be a psychopath. But that’s okay. Learn how to fake emotions with these applied empathy card deck (it’s cheaper than therapy!). Pretend to be caring human being one card at a time™.

Brain Dust ($38) for the Writer Trying to Kick a Cocaine Habit

Do you feel distracted? Foggy? Tired? Going through pangs of withdrawal? Replace your cocaine habit with this herbal alternative, Brain Dust! At $38 for 1.5 ounces, this “mental potion” is a teensy tiny bit more affordable than a drug addiction. #Getdusted with the herbs “used traditionally by great thinkers” and produce better writing when you’re in a “superior state of cognitive flow, clarity, memory, creativity, alertness, and a capacity to handle stress.”

Breakfast With Giraffes (from $620) for the Writer Trying to be Ernest Hemingway

The greatest writer on Africa of all time is Ernest Hemingway. His two trips to the continent practically made him a native. Experience the real, authentic (but sanitary) side of Africa the country at this all inclusive bed-and-breakfast where you can return with a hunting trophy of Cecil the Lion II and fodder for your next novel about fearless white expats on the trail of a rare albino rhinoceros interspersed with a sprinkling of poverty porn.

100 Questions About Sex ($14.95) for the Writer Who Is Bad at Writing About Sex

Hi James Frey! We found the perfect gift just for you, since your vocabulary seems limited to “white,” “god,” and “cum.”

How Can Good Writing Survive Online?

Dear Reader,

As I prepared to write this letter, in which, full disclosure, I will eventually ask you for money, I did what I always do at the end of year: I reflected on all the shitty things that happened in the world and all the great things Electric Literature did in our corner of the literary internet. We reached over 5 million page views, launch a Read More Women campaign that inspired our readers, and published exceptional writers whose work is urgent and necessary.

TLDR: Donate here.

This achievements are significant, and worth bragging about. But this year, as a more websites shuttered, and as we prepare to launch our own newly designed website in 2019, I was preoccupied by another question. How can literature not only survive, but thrive online?

A few days ago, one of our Recommended Reading contributors, Michelle Hart, shared her story “Hiddensee” on Twitter on the occasion of her birthday. I dashed off a quick comment: “This story is incredible and everyone should read it.” But something about it didn’t sit right with me. “Hiddensee” is incredible, yes, but it’s not true that everyone should read it. It’s a story about a young woman’s affair with a much older woman — her professor — and how the relationship both damages and engenders the young woman’s world view. It’s a tremendous piece of writing — the humor is harsh and unforgiving, the ethics ambiguous — and it’s not for everyone. No story is.

Literature thrives on direct, one-to-one connection. No matter how many people read a certain book or story, the experience is always personal. The markers of success online are not designed to reward writers for making people think, or cry, or miss their subway stop, but those are the benchmarks we continue to chase. I’m proud of our 5 million page views this year, but what I’m most proud of is something harder to quantify: how much we care about the people behind those page views. We’re not just here to rack up numbers; we’re here to convene a literary community that is exciting and inclusive, and to publish work that entertains, comforts, and challenges the members of that community.

Sometimes this ethos makes it harder to survive. There’s money in doing the least for the most. But we wouldn’t be able to thrive without attention, appreciation, and contributions from you, our literary community.

This year, we hope you’ll include us in your year-end giving by making a contribution to Electric Literature today. (It’s tax-deductible, so if you’re looking for a way to offset your massive freelance earnings, this is the perfect opportunity!)

But no matter what (if anything) you’re able to give, please remember that support is not only financial. It means reading what we publish, sharing it with friends, and submitting your work. It means making it to the end of this very long email. So if you’re still with me, thank you.

Gratefully yours,

Halimah Marcus
Executive Director, Electric Literature

Allie Rowbottom Wants You to Write Your Obsessions

I n our monthly series Can Writing Be Taught? we partner with Catapult to ask their course instructors all our burning questions about the process of teaching writing. This month we’re talking to Allie Rowbottom, a creative writing Ph.D. and the author of the family memoir Jell-O Girls, who’s currently teaching a six-week online advanced memoir workshop. You can find out more here, plus sign up to be notified when the class returns.

What’s the best thing you’ve ever gotten out of a writing class or workshop as a student?

The opportunity to read my peers’ work and think and write critically about what I think it’s doing and not doing and why. Over the years, giving feedback has taught me more about writing and my own work than receiving it.

Second to that, and more specifically, in my first writing workshop as an undergraduate, I received the great gift, from the great writer Carol Zoref, of having her take me aside and say you are drawn to unconventional forms so here, read this. She gave me Carole Maso, Eva Figes, and Virginia Woolf. They felt like they were writing in a language I’d always known, but never dared speak. This is the blend of permission and aid I endeavor to give my students.

Over the years, giving feedback has taught me more about writing and my own work than receiving it.

What’s the worst thing you’ve ever gotten out of a writing class or workshop as a student?

I really feel like there’s nothing worse than having an instructor or leader who isn’t prepared, or is “checked out” for whatever reason. It always sucks when peers don’t give timely or careful feedback, but when the professor fails to do so, it’s truly the worst.

What is the lesson or piece of writing advice you return to most as an instructor?

I use the term “gentle pruning” a lot, which is a testament to where my student’s work tends to be by the time I get to read it. Which is to say that often, by the time students submit, they’ve done the hero’s work of generating a lot of content connected to their subject and are ready to begin the task of figuring out how to shape that content to a narrative framework, a form, that best compliments it. Gentle pruning, or cutting away of the excess, often feels like next order of business but it’s one that can be hard to recognize without hearing it from a trusted source. That’s where I come in.

Does everyone “have a novel in them”?

That depends on our definition of a novel. Does everyone have 50,000 words of fiction in them? Probably, but that doesn’t mean it’ll be good.

Why Kanishk Tharoor Draws Plumbing Diagrams in Writing Class

Would you ever encourage a student to give up writing? Under what circumstances?

No. If they came to me and said, this is something I want to do, I would support them. But I’d never encourage a student or peer to give up.

What’s more valuable in a workshop, praise or criticism?

I hope this isn’t a dodgy answer, but a careful blend of both. Criticism can’t be heard if it’s not bolstered by praise; but we all know that praise, while essential for nurturing the often delicate self-esteems of writers, doesn’t really help us improve. But now that I say that, I wonder if praise, directed at carefully selected and specific examples in someone’s work, isn’t the very best sort of feedback? Because once we see what’s working and why, we can do more of it.

Should students write with publication in mind? Why or why not?

It’s good to have goals, and if publication is your goal, I think it’s absolutely appropriate to keep it in mind, and to keep an eye on what’s being published.

That said, I think it’s a fine line. If the marketplace starts dictating what we’re writing about, or causes an undo amount of stress, or, worst of all, if writing time starts getting sapped by Twitter and the perceived need for followers, it’s time to take a step back. Personally, I find that the more ensconced I am in the literary “scene,” be it online or in person, the less I’m writing anything of substance.

I find that the more ensconced I am in the literary “scene,” be it online or in person, the less I’m writing anything of substance.

In one or two sentences, what’s your opinion of these writing maxims?

  • Kill your darlings — Useful when one is trying to justify to intransigent peers and students, why cutting the old poem they wrote in undergrad then shoehorned into their novel, needs to happen.
  • Show don’t tell — I’m oddly pro this concept, though I never repeat this adage verbatim. Our goal is to convey information, sure, but also to help the reader see and experience our work in the theater of their imagination. And we do that by “showing” rather than “telling.”
  • Write what you know — Okay, but also write what you’re obsessed with; write what you feel emotionally tethered to.
  • Character is plot — Reductive and sort of meaningless. Plot is what happens when external forces place pressure on characters and force them to act. But plot can also be, in memoir, the timeline of someone’s life, shaped to a specific narrative.

What’s the best hobby for writers?

Something physical — gym, yoga, dog walks, whatever gets the blood flowing.

What’s the best workshop snack?

Other writers’ tears.

Electric Lit’s 15 Best Short Story Collections of 2018

Short story collections sometimes get treated as training wheels for novels, as if novel-writing is the true endpoint of fiction and short stories are just the practice scales you do while honing your craft. At Electric Literature, we know better: a great short story is a specific thing, valuable in and of itself and not just as the prelude to a novel. Some of our picks this year are from people who have never written a longer work of fiction. Others are from people who have, but have never achieved the same level of indelible celebration as they have for shorter work. Let’s be real: Some stories are meant to be short, and sometimes short story collections allow greater opportunity for authors to be experimental, magical, and weird. Here, in all their short weird glory, are the story collections Electric Literature staff and contributors voted as the best of 2018. (Read to the bottom for our #1 pick!)

When you’re done, check out our picks for top nonfiction and top novels of the year.

The Lonesome Bodybuilder by Yukiko Motoya

Motoya’s first collection to be translated into English is full of stories just slightly unmoored from reality. “It’s always a thrill to encounter a piece of literature that’s weird in a new way,” wrote Alexandra Kleeman in her recommendation for the title story in Recommended Reading. Read our interview with Asa Yoneda on translating the strangeness of The Lonesome Bodybuilder.

How to Love a Jamaican by Alexia Arthurs

Hopping back and forth from the island to America, Arthurs’s lively and beautiful stories examine love and family dynamics in Jamaica and the Jamaican diaspora. Read Alexia Arthur’s reading list of queer Caribbean literature.

Days of Awe by A.M. Homes

This collection of powerful, barbed stories turns unlikable characters into an art form. Read our interview with A.M. Homes. Read a story from the collection here, with an introduction by Amanda Stern.

A Trip to Disneyland in Search of the Root of Sadness

Training School for Negro Girls by Camille Acker

“People look past black women all the time, as though we’re invisible” wrote Bridgett M. Davis, recommending one of the stories from this collection. “What is so extraordinary about Camille Acker’s compelling debut Training School For Negro Girls is that she demands that we truly see these characters.”

Awayland by Ramona Ausubel

The poignant, fantastical stories in this collection feature a cast of characters including a Cyclops, a mermaid, animal mummies, and astronauts. Read our interview with Ramona Ausubel about what bodies do in secret and read a short story from the collection here, introduced by Manuel Gonzales.

The Largesse of the Sea Maiden by Denis Johnson

Johnson’s first short story collection since the seminal Jesus’ Son was already in the works when the author died in 2017. Read Matt Bell’s elegy for Denis Johnson.

Sweet & Low by Nick White

As a queer Southerner, who wrote about his experience at conversion camp in his debut novel, White both respects and sees right through the tropes of Southern fiction. Read an interview with Nick White. Read a story from the collection here, with an introduction by Alissa Nutting.

Certain American States by Catherine Lacey

Every story from this book, wrote Kathleen Alcott in her introduction for Recommended Reading, “is a whole childhood of feeling, and like any childhood, we feel lucky after to have emerged intact.”

Back Talk by Danielle Lazarin

Lazarin’s crystalline stories focus on women and girls navigating the tensions between their desires and their cultural constraints. Read one of the short stories here, introduced by Julie Buntin.

Some Trick by Helen deWitt

Sheila Heti isn’t sure you’re smart enough to read Helen deWitt. “We pick up books like Helen’s to read, us intellectuals in the culture industry, but learn nothing from her pages,” she writes while recommending a story from Some Trick. Prove her wrong.

Your Duck Is My Duck by Deborah Eisenberg

In addition to having one of the best titles going (we dare you not to mentally sing “… and my duck is your duck, our duck is here to stay”), this collection of long short stories is witty, wise, and weird. Before you read the title story, published in Recommended Reading in 2013, find out what Deborah Eisenberg told us about how short story collections should be read.

Image result for heads of the colored people

Heads of the Colored People by Nafissa Thompson-Spires

This stunning debut collection offers a perspective on black life that acknowledges, but does not require or rest on, suffering and grief. Read our interview with Nafissa Thompson-Spires about writing stories that feel authentic to her life.

A Lucky Man by Jamel Brinkley

Brinkley’s stories are tender, familiar, clear-eyed portraits of black manhood and boyhood in America. Jennifer Baker caught up with Jamel Brinkley about representing people he knows and avoiding the white gaze.

Florida by Lauren Groff

Groff didn’t just help lay the foundation for our Read More Women series this year. She also produced this weird and wonderful collection of stories about the eponymous state. We asked Lauren Groff about ugly feelings, climate change, and using dread to create effective fiction.

Friday Black by Nana Kwame Adjei-Brenyah

This collection of darkly satirical stories about race and consumerism is devastating, hilarious, and absolutely indelible—and it’s only his debut. Nana Kwame Adjei-Brenyah, one of the National Book Foundation’s 5 Under 35 honorees for 2018, is a rising star. Mark his name—and read our interview.

Finding Your Face in Mine

A Choice of Heritage

by Ruth Prawer Jhabvala

During the latter half of the last century — maybe since the end of the 1939 war — nothing became more common than what are called mixed marriages. I suppose they are caused by everyone moving more freely around the world, as refugees or emigrants or just out of restless curiosity. Anyway, the result has been at least two generations of people in whom several kinds of heritage are combined: prompting the questions ‘Who am I? Where do I belong?’ that have been the basis of so much self-analysis, almost self-laceration. But I must admit that, although my ancestry is not only mixed but also uncertain, I have never been troubled by such doubts.

Many members of my father’s totally English family have served in what used to be called the colonies — Africa or India — where they had to be very careful to keep within their national and racial boundaries. This was not the case with my father: at the time of his marriage, he had been neither to India nor to Africa. He met my mother in England, where she was a student at the London School of Economics and he was at the beginning of his career in the civil service. She was an Indian Muslim, lively, eager, intelligent and very attractive. She died when I was two, so what I know of her was largely through what my aunts, my father’s sisters, told me. My father rarely spoke of her.

It is through my Indian grandmother, with whom I spent my school holidays, that I have the most vivid impression of my mother. This may be because my grandmother still lived in the house where my mother had grown up, so that I’m familiar with the ambience of her early years. It was situated in the Civil Lines of Old Delhi, where in pre-Independence days British bureaucrats and rich Hindu and Muslim families had built their large villas set in large gardens. This house — with its Persian carpets spread on marble floors, pierced screens, scrolled Victorian sofas alternating with comfortable modern divans upholstered in raw silk — seemed to me a more suitable background to my mother’s personality, or what I knew of it, than the comfortable middle-class English household where I lived with my father.

My grandmother, no doubt because of her royal style, was known to everyone as the Begum. Every evening she held court in her drawing room, surrounded by male admirers who competed with one another to amuse her and light the cigarettes she endlessly smoked. Her friends had all been at Oxford or Cambridge and spoke English more fluently than their own language. Some of them had wives whom they kept mostly at home; one or two had remained bachelors — for her sake, it was rumored. She was long divorced and lived alone except for her many servants, who were crammed with their families into a row of quarters at the rear of the property. They too vied with each other to be the closest and most important to her, but none of them ever captured this position from her old nurse, known as Amma. It was Amma who had learned to mix the Begum’s vodka and tonic and to serve their favorite drinks to the visitors. During the hot summer months the household moved up into the mountains where there was a similar large sprawling villa and another set of admirers — though they may have been the same ones, except that here they wore flannel trousers and hand-knitted cardigans and came whistling down the mountainside carrying walking sticks over their shoulders like rifles.

There was one visitor who was different from the rest. His name was Muktesh, and when he was expected, she always gave notice to the others to stay away. He had not been to Oxford or Cambridge, and though his English was fluent, it sounded as if he had read rather than heard it. But his Hindi was colloquial, racy, like a language used for one’s most intimate concerns. He was known to be a first-class orator and addressed mammoth rallies all over the country. He was already an important politician when I was a child, and he could never visit the Begum without a guard or two in attendance (later there was a whole posse of them). He was considerate of his escort, and Amma had to serve them tea, which was a nuisance for her. Tea was all he himself ever drank, pouring it in the saucer to cool it. He had simple habits and was also dressed simply in a cotton dhoti that showed his stout calves. His features were broad and articulated like those of a Hindu sculpture; his lips were full, sensual, and his complexion was considerably darker than my grandmother’s or any of her visitors’.

He was definitely not the Begum’s type, yet she appeared to need him. She was very much alone and had been so for years. At the time of Partition she was the only one of her family to stay behind in India while the rest of them migrated to Pakistan; including her husband, who became an important army general there and also the butt of many of the jokes she shared with her friends. They had been separated since the birth of my mother, one year after their marriage. He took another wife in Pakistan, but the Begum never remarried. She preferred the company of her servants and friends to that of a husband.

And Muktesh continued to visit her. He made no attempt to be entertaining but just sat sucking up his tea out of the saucer; solid, stolid, with his thighs apart inside the folds of his dhoti. There were times when he warned her to make arrangements to go to London; and shortly after she left, it usually happened that some situation arose that would have been uncomfortable for her. It is said that Hindu–Muslim riots arise spontaneously, due to some spark that no one can foresee; but Muktesh always appeared to have foreseen it — I don’t know whether this was because he was so highly placed, or that he was exceptionally percipient.

I always enjoyed my grandmother’s visits to London. She stayed at the Ritz and I had tea with her there after school. Sometimes she had tickets for a theatre matinee, but she was usually bored by the interval and we left. Amma accompanied her on her London visits and splashed around in the rain in rubber sandals, the end of her sari trailing in puddles. She grumbled all the time so that the Begum became irritated with her. But actually she herself tired of London very quickly, though she had many admirers here too, including most of the Indian embassy staff. After a time she refused to leave Delhi, in spite of Muktesh’s warnings. ‘Let them come and cut my throat, if that’s what they want,’ she told him with her characteristic laugh, raucous from her constant smoking. And instead of coming to London, she insisted on having me sent to her in India for the whole of my school holidays.

If it had not been that I missed my father so much, I would have been happy to stay in India for ever. I felt it to be a tremendous privilege to be so close to my grandmother, especially as I knew that, except for me, she really didn’t like children. I learned to light her cigarettes and to spray eau de toilette behind her ears. In the evenings when the friends came I helped Amma serve their drinks, and then I would sit with them, on the floor at the Begum’s feet, and listen to the conversation. When she thought something unfit for me to hear, she would cover my ears with her long hands full of rings.

I felt totally at home in Delhi. I had learned to speak the Begum’s refined Urdu as well as the mixture of Hindustani and Punjabi that most people used. All this came in very useful in my later career as a student and translator of Indian literature. I ought to explain that my appearance is entirely Indian, with no trace of my English connections at all. None of them ever commented on this but accepted it completely — accepted me completely, just as I was. And so did the Begum, though I bore no resemblance to her either, or to anyone in her family of Muslim aristocrats. Both she and my mother were slender, with narrow fine limbs, whereas I have a rather chunky build and broad hands and feet. My features are Hindu rather than Muslim — I have the same broad nose and full lips as Muktesh. My complexion too is as dark as his.

I always took it for granted that it was me whom Muktesh came to visit. It was to me that he mostly spoke, not to the Begum. When I was small, he always brought me some toy he had picked up from a street vendor, or made the figure of a man with a turban out of a handkerchief wound around his thumb to waggle at me. At least once during my stay, he would ask for me to be brought to him, and the Begum sent me accompanied by Amma, who became very haughty as if she were slumming. At that time Muktesh had the downstairs part of a two-story whitewashed structure with bars on the windows. He had three rooms, two of them turned into offices where his personal assistant and a clerk sat with cabinets full of files and a large, very noisy typewriter. The remaining room, where he ate and slept, had the same kind of government-issue furniture standing around on the bare cement floor. The walls were whitewashed, and only the office had some pictures of gods hung up and garlanded by the personal assistant. Muktesh himself didn’t believe in anything like that.

However, he did have a photograph of Mahatma Gandhi in his own room, as well as that of another Indian leader — I believe it was an early Communist who looked rather like Karl Marx. Muktesh explained to me that, though he had never met them, these two had been his political inspiration. At the age of sixteen he had joined the Quit India movement and had gone to jail. That was how he had missed out on his higher education and had had to catch up by himself; first in jail, where other political prisoners had guided him, and afterwards by himself with all these books — these books, he said, indicating them crammed on the shelves and spilling over on to the floor from his table and his narrow cot: tomes of history, economics and political science.

It was through his interest in these subjects that he first developed a friendship with my mother. Since I only knew her through the memories of other people, it has been difficult for me to grasp the dichotomy between my mother’s appearance — her prettiness, her love of dress and good taste in it — and the fact that she was a serious student of economics and political science. Even after her marriage to an Englishman, the development and progress of India remained her most passionate concern. Outwardly, she became more Indian while living in England; she wore only saris or salwar-kameez and her Indian jewelery. She often attended functions at the Indian embassy in London, and it was there that she first met Muktesh. He was a member of a parliamentary delegation — I don’t know the exact purpose of their mission, something to do with tariffs and economic reform, anyway it was a subject on which she had many ideas. Perhaps her ideas interested him, perhaps she did, and he invited her to discuss them with him when she next came to Delhi. Since she was there at least once and usually several times a year to be with the Begum, she was soon able to take him up on his invitation.

They must have had long, intense discussions — about public versus private ownership, economic reform and the expansion of social opportunities. From what I have heard of her, I imagine her doing most of the talking, eager to impart all her theories. She walks up and down with her gold bangles jingling. Getting excited, she strikes her fist into her palm, then laughs and turns around and accuses him of laughing at her. And perhaps Muktesh really does smile — his rare, sweet smile with slightly protruding teeth — but mostly he remains massively still, like a stone sculpture, and only his eyes move under his bushy brows to watch her. This is the way I imagine them together.

I must have been seventeen or eighteen when the Begum first spoke to me about my mother and Muktesh. She came out with it suddenly, one day when he had just left us — as usual with all his security personnel and the convoy of jeeps that accompanied him everywhere (there had been too many assassinations). ‘In those days,’ the Begum said, ‘he didn’t need to have all those idiots hanging around drinking tea at our expense. He and she could just meet somewhere — in the Lodhi tombs, by the fort in Tughlakabad: God only knows where it was they went to be together.’ This was my first intimation of the affair — I had had no suspicion of it, but now the Begum spoke as if I had known or should have known all along.

‘One day I cornered him — after all he’s a sensible person, not like your poor mother . . . I told him, “You know how we live here: how everywhere there are a thousand eyes to see, especially when it’s some- one like you . . . ” He waved his hand the way he does when he doesn’t want to hear something, like you’re a fly he’s waving away . . . “Yes,” I said, “it’s fine for you, but what about her? And her husband, the poor chump? And this one — ” meaning you, for you had been born by that time (a very ugly baby, by the way) . . . ’

After this warning, Muktesh seemed to have made some attempt to stay away from my mother. It was hopeless, for when he didn’t show up on the morning of our arrival from England, she commandeered the Begum’s car and drove to his flat and made a scene there in front of his staff. So even if he had been serious about ending the relationship, he never had a chance, and they went on even more recklessly. When he gave a speech in Parliament, she was up in the public gallery, leaning forward to listen to him. She gatecrashed several important diplomatic parties, and if she had difficulty getting in somewhere, she had herself taken there by the Begum, for whom all doors always opened. Consequently, the Begum told me with amusement, a new set of rumors began to float around that it was she, the Begum, who was having an affair with Muktesh. There were all sorts of allegations, which were taken up and embellished by the gossip magazines; and not only those published in Delhi but also in Bombay and Calcutta, for he had already begun to be a national figure. His appearance in these pages was an anomaly — especially in the role of lover, at least to anyone who didn’t know him.

One year, when my mother had come to India with me, my father took leave for a week or two to join us. He gave no notice of his impending arrival beyond a sudden cable announcing it. My mother took it straight away to her mother: ‘Do you think he’s heard something?’ The Begum shrugged: ‘How could he not? The way you’ve been carrying on.’

But if he had, it seemed he gave no sign of it. I have tried to give an impression of Muktesh, and now I must try to do the same for my father. If you think of the traditional Englishman — not of this but of a previous era — then you would have some idea of my father. He was tall, upright and athletic (he had been a rowing blue), with an impassive expression but an alert and piercing look in his light blue eyes. During weekdays in London he wore a dark suit and his old school tie and always carried a rolled umbrella against the weather; in the country, where we spent most weekends, he had a baggy old tweed jacket with leather elbow patches. He smoked a pipe, which he did not take out of his mouth when he cracked one of his puns or jokes, at which he never smiled. He wanted people to think he had no sense of humor. Otherwise he did not care what anyone thought of him. He cared for his duty, for his work, for his country — for these he had, as did Muktesh, a silent deep-seated passion; as he had, of course, again like Muktesh, for my mother.

His time in Delhi was largely spent playing cards with the Begum or doing crosswords with her, finishing them even more quickly than she did. Unfortunately it was the middle of the hot season and, perspiring heavily, he suffered horribly from prickly heat. Like myself in later years, my mother loved the Delhi heat — the mangoes, the scent of fresh jasmine wound around one’s hair and wrists, and sleeping on string cots up on the Begum’s terrace under a velvet sky of blazing stars. My father was very interested in early Hindu architecture, like the amphitheater at Suraj Khund, but on this visit it was much too hot for him to go out there. Since this was a private visit, he did not think it proper to call on any of the senior government officials — his opposite numbers here, whom he knew quite well from their visits to London. I think he himself was relieved when the two weeks were up and he could return home.

The Begum said she certainly was; as for my mother and Muktesh, they never told anyone anything, but no doubt they were glad to have these last few weeks of her stay to themselves. She and I followed my father to England in September, after the monsoon, but we were back again the following January. She could never stay away for long.

During the months in between her visits to India, my mother led a very conventional life at home. I have this information from my father’s two sisters (‘your boring aunts’, the Begum called them). My mother seemed to have charmed them, and they gave the impression that she too had been charmed — by England, by their way of life: the family Christmases, fireworks on Guy Fawkes night, the village pageant of medieval English history. In her country garden she gathered plums and apples from her trees and bottled jams and chutneys; although in India she had, like her mother, hardly been inside a kitchen, she learned to roast, to baste, to bake, with a rattle of the gold bangles that she never took off. Both my aunts had very happy marriages and took their devotion to their husbands too much for granted to feel the need to demonstrate it. But my mother couldn’t do enough to show her love for my father. When he came home from his long day at Whitehall, she would make him sit by the fire, she would light his pipe and bring his slippers and whatever else she had heard or read that English wives did for their husbands. ‘No, let me,’ she would say, ‘let me,’ when he protested, embarrassed at having such a fuss made over him.

Yet her visits to India became more frequent, and longer. He made no objection, perfectly understood that she wanted to see her mother, was homesick for India. How could she not be? And he was grateful that, while she was with him in England, she gave no indication of her longing for that other, different place. During her absence, he wrote her long letters — which she did not open. The Begum kept them, also without opening them, so I have been the first person ever to read them.

And having read them, I can understand my mother’s reluctance to do so. They express him completely, his personality shining through the small neat civil service script and his longing for her through his deadpan account of domestic trifles: how Mrs Parrot the housekeeper and the milkman had got into a fight over some cream that had prematurely gone off; how he had tried to have a quiet dinner at his club but had been caught by a very tiresome chap who knew all about India; how he had rescued a sparrow from the jaws of next door’s cat and had given it water and a worm till it was calm enough to fly away . . . Each letter said not once but several times that everything was fine, he was muddling through, and yes of course not to think of coming home till the Begum had perfectly recovered from her bout of flu.

My mother died of cholera — not in India but in England, where this disease had been wiped out so long ago that English doctors failed to identify it in time. One of my aunts took me away to her house and kept me for several months until my father was able to have me back. Although my aunts loved to talk about my father’s happy marriage to my mother, they never spoke of her death and how it affected him. It was as if they didn’t want to remember their brother — so calm, so anchored — as he was during that year. They were reluctant to return me to him but he insisted. He never remarried. My mother’s portrait, painted by an Indian woman artist, hung in our living-room in the country, an enlarged photograph in the flat in town. In the former she is pensive, with sad eyes, in the latter she is smiling. Perhaps the painter wasn’t very good but, to me, the portrait conveys less of her than does the photograph. Or it may be that to smile — to be lively and alive — was more characteristic of her, of the way that people told me that she was.

Muktesh never married, which is very unusual for an Indian. He spent his days and nights — he rarely slept more than a few hours — in the service of his party, of Parliament, of politics. When he said he had no time to get married, it was true. He rarely managed to get to see his old mother in Bikaner. He used to tell me how she despaired at his lack of a wife: ‘And when you’re sick, who will look after you?’ He would smile and point upward in a direction he didn’t believe in but she did. He didn’t get sick but he didn’t get married either. Year after year, more and more desperately, she found brides for him — girls of their own caste, modest, domesticated. But he was used to my mother, who argued with him about subjects of vital concern to them both. When they took long car rides together, he whiled away the time composing poetry; she worked on her PhD thesis that she didn’t live to present.

Their last long car ride together was to Bikaner. He had to go to a meeting of his election committee in the district from which he was returned year after year. They travelled for a day and a night, across long stretches of desert. They got very thirsty and drank whatever was available — the glasses of over-sweet and milky tea that Muktesh was so fond of, or buttermilk churned out of fly-spotted curds. Once, when there was nothing else, they made do with stagnant water out of an old well. Neither of them ever had a thought for disease, she out of recklessness (the Begum called it stupidity), he out of his optimistic fatalism.

I have only his account of that day in Bikaner, and he was busy till it was time to set off again the same night. All day he had left her in his mother’s house, with no comment other than that she should be looked after. His mother was used to his arrival with all sorts of people and had learned to ask no questions. She was an orthodox Hindu, and for all she knew he might have brought her untouchables, beef-eaters; but from him she accepted everything and everyone. By the time he had finished his meetings and returned to the house, he found his mother, and mine, sitting comfortably together on a cot in the courtyard, eating bread and pickle. The neighbors were peering in at them, and his mother seemed proud to be entertaining this exotic visitor — her fair- complexioned face uncovered and her vivacious eyes darting around the unfamiliar surroundings, taking everything in with pleasure the way she did everywhere.

Even well into her sixties, the Begum continued to be surrounded by admirers. They came in the evenings and had their usual drinks, no longer served by Amma but by Amma’s granddaughter. Otherwise everything was unchanged — including the Begum herself who still chain-smoked. At home she was always in slacks and a silk shirt and her hair was cut short and shingled; but there was something languid and feminine about her. She relaxed in a long chair with her narrow feet up and crossed at the ankles while she joked and gossiped with friends. They had two favorite targets: the crude contemporary politicians who amassed fortunes to cover their fat wives and daughters with fat jewels, and the wooden-headed army generals, one of whom had long ago had the misfortune to be her husband. ‘What did I know?’ she still lamented. ‘My family said his family was okay — meaning they had as much money and land as we had — and at seventeen I liked his uniform though by eighteen I couldn’t stand the fool inside it.’

It was only in Muktesh’s presence that she was not exactly tense — that would have been impossible for her — but less relaxed. By this time he was very important indeed and his visits involved elaborate security arrangements. He himself, in hand-spun dhoti and rough wool waist- coat, remained unchanged. Whenever I was there, he came as often as he could, mostly very late at night, after a cabinet meeting or a state banquet. The Begum, saying she was very tired, went to bed. I knew she didn’t sleep but kept reading for many hours, propped up by pillows, smoking and turning the pages of her books. She read only male authors and went through whole sets of them — ten volumes of Proust, all the later novels of Henry James, existentialist writers like Sartre and Camus whom everyone had been reading when she was young and traveling in Europe, usually with a lover.

Muktesh talked to me about the reforms he was trying to push through; he spoke of dams, monetary loans, protest groups, obstructive opposition parties and rebels within his own party. He spoke to me of his concerns in the way he must have done with my mother; but his mood was different. When he was young, he said, he could afford to have theories, high principles. Now he didn’t have time for anything except politics; and he drew his hand down his face as if to wipe away his weariness. But I felt that, though his mind and days were swallowed up by business and compromise, the ideals formed in his youth were still there, the ground on which he stood. And I might as well say here that, in a country where every public figure was suspected of giving and receiving favors, his integrity was unquestioned, unspoken even. It wasn’t an attribute with him, it was an essence: his essence.

Whenever Muktesh came on one of his official visits to London, he took off an hour or two to be with me and my father. We usually met in an Indian restaurant, a sophisticated place with potted palms and Bombay-Victorian furniture and a mixed clientele of rich Indians and British Indophiles who liked their curry hot. In later years, there were always several security people seated at a discreet distance from our table. My father was the host — he insisted, and Muktesh, though always ready to pick up bills and pay for everyone, gracefully yielded. He and my father were both generous in an unobtrusive way, and it was not the only quality they shared. My father was as English as it was possible to be and Muktesh as Indian, but when I was with them, I felt each to be the counterpart of the other. Although they had many subjects of interest to them both, there were long silences while each prepared carefully to present a point to the other. ftey both spoke slowly — my father habitually and Muktesh because he was expressing himself in English, which he had first learned as a teenager in jail. Muktesh ate rapidly the way Indians do, neatly scooping up food with his fingers, and he was already dabbling them in a bowl with a rose petal floating in it, while my father was still following his Gladstonian ideal of chewing each mouthful thirty-two times. Occasionally they turned to me, in affectionate courtesy, to ask my opinion — as if I had any! I wasn’t even listening to their conversation. I knew nothing of the checks and counterbalances between an elected government and a highly trained bureaucracy — one of their favorite subjects — but I loved to look from one to the other. The evening always ended early because Muktesh had to return to the embassy to prepare papers for his next day’s meetings. When we got up, so did the security personnel. Several diners recognized Muktesh and greeted him, and he joined his hands to them and addressed them by name if he remembered them, which as a good politician was surprisingly often. A splendid doorman bowed as he opened the doors to the street for him. ‘Aren’t you cold?’ I asked Muktesh, for even in the London winter he wore the same cotton clothes as in India, with only a rough shawl thrown over him. He laughed at my question and drew me close to say goodbye. I could feel the warmth of his chest streaming through the thin shirt and his strong heart beating inside it.

In what was to be the last year of his life, he wanted to take me to meet his mother. But when I told the Begum of this plan, she shouted ‘No!’ in a way I had never heard her shout before. She lit a new cigarette and I saw that her hands were shaking. She always hated to show emotion — it was what made her appear so proud and contemptuous; and it was also one of the reasons, a physical as well as emotional distancing, that she didn’t like to be touched. I knew that her present emotion, the mixture of anger and fear, was a revival of the past, when my mother had returned from her visit to Bikaner — travel-stained, exhausted and with the beginning of the sickness that would flare up on her journey back to England. I tried to reassure the Begum: ‘You know Muktesh doesn’t travel that way any more — ’ for nowadays there was always a special plane and a retinue of attendants.

But it wasn’t only fear of the journey that upset the Begum: ‘God only knows where and how she lives.’

‘Who lives?’

‘And she must be ninety years old now, probably can’t see or hear and won’t care a damn who you are or why he brought you.’ Although this was her first reference to the possible alternative of my begetting, she cut it short, dismissed it immediately — ‘Well, go then, if that’s what he wants — but if you dare to eat or drink a thing in that place, I’ll kill you.’ She had a way of gnashing her teeth, not with anger but with a pain that was as alive now as it had been these last twenty years. Or if there was anger, it was at herself for not being able to hide it, or at me for witnessing even the smallest crack in her stoical surface. ‘All right,’ I said, ‘I promise,’ and I kissed her face quickly before she had time to turn it away.

But my other grandmother — if that was what she was — liked to touch and to be touched. She sat very close to me and kept running her fingers over my hair, my hands, my face. Muktesh had gone off to his meetings and left me with her the way he had left my mother, without explanation. Or had he told her something about me — and if so, what had she understood that made her so happy in my presence? We were in the same house and courtyard that my mother had visited, maybe even sitting on the same string cot, now several decades older and more tattered. Many years ago, to save his mother from the usual lot of a Hindu widow, Muktesh had taken a loan to buy this little house for her. The town had grown around it, new and much taller buildings pressing in on it so that it seemed to have sunk into the ground the way she herself had done. As the Begum had guessed, she was almost blind. The iris of one eye had completely disappeared and with the other she kept peering into my face while running her fingers over it. At the same time she tried to explain something to me in her Rajasthani dialect that I couldn’t understand. When at last Muktesh reappeared, with all his convoy of police and jeeps, she chattered to him in great excitement. Muktesh agreed with what she said, maybe to humor her, or maybe because it really was true. When I asked him to interpret, he hesitated but then said — ‘She’s comparing you with all her female relatives — your nose, your chin — and your hands — ’ she had taken one of them into her own bird claw and was turning it over and over — ‘your hands,’ Muktesh said, ‘are mine.’ ‘Bless you, son, bless you, my son!’ she shouted. He bent down to touch her feet, and the people watching us — neighbors had crowded every window and some were up on the walls — all let out a gasp of approval to see this son of their soil, this great national leader, bow down to his ancient mother in the traditional gesture of respect.

A university press had commissioned me to bring out a volume of modern Hindi poetry. When I asked Muktesh if he had any poems for me to translate, he smiled and shook his head: what time did he have for poetry? Yes, sometimes on his way to a rally, he might compose a little couplet to liven up a speech. That wasn’t poetry, he said, it was propaganda, not worth remembering. And there was nothing else, nothing of his own? He shrugged, he smiled — perhaps he might at some time, in the heat of the moment, have scribbled something of that kind, maybe in a letter long since destroyed.

I knew that the Begum had some of his poems addressed to my mother. On my return from Bikaner, when it was time for me to return to my teaching job in London, I asked her to let me take those poems with me. At first she hesitated — I knew that it wasn’t because she was reluctant to part with them, but that she didn’t want me to take them away to England, where they did not belong. I had heard some of what he called his ‘propaganda’ verses — I had seen him write them, in a car while being driven from one election meeting to another. They were all poems with a social theme, humorous, sarcastic, homely, with a sudden twist at the end that drew amused appreciation from his audience. His poems to my mother were completely different, yet if you knew him — really knew him — it was recognizably he who breathed in them. And not only he but poets dead a thousand years, for he belonged to their tradition of Sanskrit love poetry steeped in sensuality. As they did, he loved women — or rather, a woman: my mother, and with her the whole of life as he knew it, the whole of nature as he knew it, with its sights and smells of fruits and flowers. He wrote of the rumpled bedsheets from which she rose as the Sanskrit poet did of the bed of straw on which his mistress had made love; of the scent of her hair, the mango shape of her breasts. He longed to bed and to be embedded in her. His love was completely physical — to such an extent that it included the metaphysical without ever mentioning it, the way the sky is known to be above the earth even if you don’t look up at it.

After his retirement, my father lived mostly in the country, and I joined him whenever I was free from my teaching assignments. It was there that I did most of my translations, and I was working on one of Muktesh’s poems when the news of his assassination reached us. My father heard it on the little radio he kept in the kitchen. He came upstairs to my bedroom, which was also my study. He sat on my bed, holding his pipe though he had knocked out the ashes before coming upstairs. I turned around to look at him. At last he said, ‘Muktesh.’ He was not looking back at me but out of my bedroom window. My father’s eyes were of a very light blue that seemed to reflect the mild and pleasant place where he lived. Instinctively, I put my hand on Muktesh’s poem. It was too alive and present with a passion I wanted to hide from my father, who had all my life hidden his knowledge of it from me.

My next visit to India coincided with the beginning of the trial of Muktesh’s assassins, and every day the newspapers carried front-page stories of it, together with their photographs. Muktesh had been shot at the moment of leaving a function to commemorate the birth date of Mahatma Gandhi. Although one man had carried out the murder, it had been planned by a group of conspirators, including two accomplices ready to do the deed if the first one failed. They were all very young men — the youngest seventeen, the eldest twenty-four — all of them religious fanatics with tousled pitch-black hair and staring pitch- black eyes. If they had been older, their views might have been less intransigent, might even have approached Muktesh’s tolerance (for which they had killed him). And as I read about their lives — their impoverished youth, their impassioned studies, their wild ideas — I felt I could have been reading about the young Muktesh himself. And when I went to court to look at his assassins on trial for their lives, it could have been the young Muktesh standing there — as defiant as they, fierce and fervent in dedication to a cause.

But I knew there were other sides to him. I knew it from translating his poems, and also from his manner with me. He was as reticent about my singular appearance as the rest of my family. Yet sometimes he gazed into my face the same way my father did — I knew what for: for some trace, some echo of something lost and precious. He never found it, any more than did my father, but like him Muktesh showed no disappointment. Instead he smiled at me to show his pleasure in me, his approval, his acceptance and his love, which was as deep in his way as my father’s was in his, and the Begum’s in hers.

She of course had her own manner of showing it. Ever since I was small, she insisted on going through my hair with a louse-comb. ‘Your mother used to come home every day from school with something,’ she told me to explain this practice, which she extended right into my adult years. I think she just liked to do it, it made up for the other intimate gestures that she so disdained. My hair is coarse and deeply black, quite different from my mother’s, so she said, which had been silky like the Begum’s own and with auburn lights in it (by this time the Begum’s had turned almost red with constant dyeing). Sometimes, while wield- ing her louse-comb, she commented, ‘Who knows where you got this hair — it’s certainly not ours.’ After a while she said, ‘But who knows where anything comes from, and who the hell cares?’ Tossing the comb to Amma’s granddaughter with instructions to wash it in disinfectant, she began on a story about her ex-husband’s family. His mother, my great-grandmother, had for thirty years had a wonderful cook:

‘A very lusty fellow from Bihar who made the most delicate rotis I’ve ever eaten. Which may have been the reason why my mother-in-law couldn’t bear to be parted from him for a day. May have been — and anyway, who knows what goes on in those long hot afternoons when everyone is fast asleep?’

‘Did this cook have hair like mine?’

‘I couldn’t tell you,’ she said, ‘he always wore a cap.’ She made a face and then she said, ‘Ridiculous,’ dismissing the whole subject as unworthy of further discussion.

Is Empowerment Just a Marketing Strategy?

There were many moments during Radiant Shimmering Light where I wanted to throw the book against a wall. In a good way. The book is narrated by Lillian, a 40-year-old white woman trying to build her brand on social media as a pet-aura portraitist (yes), and her journey into The Ascendency, a Goop-ish MLM scheme run by her estranged cousin.

Purchase the book

Lillian is Positive Thinking™ come to life, to the point where she crushes any less-than-perfect thought or impulse. Self-care has a twisted vice grip on her, and more than once I wanted to shake her and scream “YOU’RE ALLOWED TO HAVE A DAMN OREO.”

Sarah Selecky knows what it’s like to be Lillian. She knows what it’s like to want to promote your small business, and to find yourself in the center of a world that insists Instagram is where you find salvation. Her novel is at once a satire of wellness bloggers, Instagram influencers, and self-care capitalism, and a heartfelt look at the things we do to cure loneliness and feel empowered. There are no enemies, only people we could easily become if things had gone differently. If that makes you uncomfortable, that’s the point.

Jaya Saxena: What was your relationship to this world of Instagram influencers and multi-level marketing schemes and wellness culture when you started writing this book?

Sarah Selecky: I’m a writing teacher, and years back before Instagram, before Facebook, I would put little photocopied “Come to my class” posters up at the laundromat. The classes started to grow, Instagram came about, my first book sort of took off in Canada and got some coverage which put me on CBC radio and television, and that was really wonderful and really elevated my classes and the people who wanted to start working with me. So there was this sort of somersaulting into work a work place that I didn’t really know how to manage. I started looking around to see how do you run a business and as soon I opened that portal, as a writer, I was like “Oh! It’s a world, it’s a whole world.”

I’m an outsider, I got into it totally accidentally while just trying to figure out how to build a website and run a newsletter and then I started seeing like how many women were doing this. It’s the women who are involved in this really gendered business approach.The principles are so empowering and women have been so disempowered and left out of independent financial solvency for so long, we are rightly hungry for financial independence and entrepreneurship promises that. And yet can that happen within a capitalist structure? Especially when what you’re selling has a spiritual quality so when something doesn’t actually belong in the market economy what happens when you monetize it? This was the knot that I went into the book trying to explore.

Women have been so disempowered and left out of independent financial solvency for so long, we are rightly hungry for financial independence and entrepreneurship promises that. And yet can that happen within a capitalist structure?

JS: This book is certainly satirical and it’s critical of this world but I also feel like you brought a lot of kindness to it. You’re not here just calling Lillian a dope who’s being swindled. You really care about her and you want to protect her even when you think she’s making terrible choices.

SS: It was really important to me to write that way and it would have been much easier to write a straight up send up, and the temptation certainly was there. I will say when I started the novel years ago before really getting into it, I think that I probably was attempting to write more satire. And then when I really did the work that the novel required of me, which was to really look everybody’s motivations for what they were doing, I couldn’t do it. When satire is funny, it’s funny because you are pointing at someone else and saying “I am better than that,” like I’m not that. You have to disengage from whatever it is you’re laughing at, and that’s what makes it funny when it’s really biting, and it wasn’t the right path for this book. It was more boring, it was more difficult, but also more interesting to me to sit in this really uncomfortable place.You can’t say it’s bad when the intentions are so good and people are so lonely.

JS: But there’s certainly a version of satire where you’re not pointing at someone else that you’re essentially pointing at something that is inside of all of us and and saying you’re part of this.

SS: I’m seeing this now because the book has been out in Canada for some time this year so it’s not in the states yet, but I’ve just been touring in Canada and I see the differences in readership and the people who have read it, who have the most to say about it and who really have engaged on it on a deeper level, are the ones who are willing to see that they’re implicated in it. Then there are readers who are not willing to go there, and they read it really differently.

JS: It’s also never questioned that Lillian can see auras in the book.

SS: My final bottom line on why she sees auras is that she is super sensitive. I wanted to show her sensitivity in a way that you could grasp. She would feel affected by noise and people’s moods and all that stuff. I know people who say they see auras. I mean what if they do? What do we know? Maybe they do, as I get older the less I know for sure, the less certain I am about anything. I love that people see auras. I love that people can hear things, I love that people hear messages from elsewhere. I grew up Catholic, that’s probably why I believe in things that nobody else can see. It was like instilled in me at a very young age that magic happens.

I think it’s a spiritual book, even though it’s a satire and even though it’s a cultural criticism. It was important to me to write a book, or create a world that was not science fiction where magic happened and wasn’t questioned as crazy. That’s not the point of the story. The point of the story is what do we do when we make our intimate relationships transactional and let’s just assume that magic happens.

JS: You wrote this book first person from Lillian’s perspective which means that you’re getting 400 pages in the head of someone who is in this lifestyle and buying into a lot of the stuff and talking the way wellness Instagram sounds. Why that choice?

SS: I wanted to go there. I wanted to make it all present tense, and I wanted to make it first person because of the intensity. It wasn’t easy. I’m really, really … like I love Lillian, I loved writing the book, but I was in it for a long time and I’m really relieved to let go of that voice now. People always project the character onto the author. So I’d been hearing things from people, like someone I work with said ‘you know my friend read your book and said oh god, Lillian is so neurotic, Sarah must be such a hard person to work with’. I’m very happy to be out of her head. I wanted to be in it, because I really wanted to understand her choices. At one point she’s feeling panicked she like stands up her friend, Yumi, who has just told her this very important thing. Lillian like freaks out and doesn’t have the awareness at all to breathe and stay with it and be there for her friend. And a scene like that, where we see her make bad choices, it’s awful. And I needed to be inside her to be able to feel empathy even when she does these things.

What Kurt Vonnegut Can Teach Us About Coping with the Internet

JS: This book deals a lot with manipulation and addiction, and the scene with Yumi really illustrates that. Here is this friend who has really been there for Lillian, and when they need her she runs away. For all this talk about self care and connection, these characters become even more isolated.

SS: Yeah, you put the “self care” together with “keep your frequency high!” and then moments like that become … like Lillian just short circuited. She doesn’t actually have the tools for real connection. She is looking at her screen more and thinking about her screen more than she is thinking about being who she is. Her brain has been rewired over the years of trying to market herself and trying to connect to people but she is actually not okay with the feelings required. She’s out of practice, and some of it’s her fault and some of it isn’t her fault, and that is what I hope that is coming through in the book. I think if we don’t practice empathy we can lose the skill.

I think if we don’t practice empathy we can lose the skill.

JS: And everything that is going on at Ascendency seems to be saying “hey we are teaching you to be more thoughtful, empathetic connected person” and yet she loses these skills.

SS: And it sounds so good. I mean Ascendency sounds great. What they’re saying, the content sounds good, and yet, where is it? Where is that, what they promised?

JS: This gets back to your point about capitalism. Once it turns into a business and once you monetize these things, it really changes. Do you think wellness can ever really exist under capitalism?

SS: The million dollar question. I’m leading some writing workshops at a feminist, entrepreneurial conference next weekend in Toronto and they gave me a T-shirt that says “feminist entrepreneur.” That’s such an oxymoron! That can’t happen!

No, I don’t think so, no actually. I think that we live in capitalism so we are here, the market economy has taken over all the other economies. I believe that there are things like art and things of the spirit that don’t belong in the market economy. They belong in the gift economy, and the sharing economy, but not in the market economy, not in the way this one’s set up. And yet what are we going to do, if that’s the case then what? This is not a new question. But I don’t know if we translate it to the capitalist system that I see going on right now and the money mindset stuff when you link that to prayer, I think something’s wrong.

JS: With podcasts like The Dream, there’s been a lot more things popping up that are turning the critical eye toward these sort of spaces. Do you think that the wellness world, or the multi-level marketing world or any of this are like changing in the face of this increased scrutiny?

SS: I feel like people are talking about it and there’s a part of my heart that’s like okay, but all the women who are involved, I don’t want to hate on these people. I tread lightly because there are dreams and vulnerability there. I feel like some education needs to happen basically, a gentle criticism that doesn’t scare the people who have spent their money and their time to go to these conferences in Las Vegas to learn how to believe in themselves, or because they need money to bring into their household income because their families need it. I do think something’s shifting, I do think the conversation is changing, I think there’s like this big rumble which I really love to see happening. And I think that just boycotting all the Avon sales people you know, it’s more tricky than that.

JS: What do you hope people take away from the book?

SS: I want to invite people to be uncomfortable with the book. The book kind of makes you squirm. It made me squirm while writing it. It was this squirmy procedure and I really tried in every scene, I tried to not make it easy. That was intentional, to never let it be an easy out. I wanted to mess with what we think an antagonist is and what we think a protagonist is and the concept of a hero getting over all these obstacles and then winning. I know that’s really uncomfortable because it’s not, it doesn’t let us out easy. I just want to invite people to sit in that uncomfortable place with me before we take any more steps in this world.

Electric Lit’s 15 Best Nonfiction Books of 2018

Counting your blessings is a struggle in 2018, but this year did bring us a handful of good things: Black Panther, Dirty Computer, novelist Alexandra Kleeman’s dog being confused by a string bean, and a few new books we loved. We asked Electric Literature staff and contributors to vote for their favorite books of the past year, and here are their picks for essays, memoir, and reported work. (Read to the bottom for our #1 pick!) When you’re done, check out our picks for top collections and top novels of the year.

Heart Berries by Terese Marie Mailhot

This memoir of trauma and family dysfunction—and learning to write your way out—turns pain into poetry. Read our interview with Terese Mailhot.

And Now We Have Everything by Meaghan O’Connell

O’Connell’s relatable motherhood memoir doesn’t sugar-coat the experience of having a child. Read our interview with O’Connell, and an essay about how her book’s sometimes brutal forthrightness helped ease the anxiety of motherhood.

Impossible Owls by Brian Phillips

This collection of essays about culture from the former Grantland writer ranges from princesses to Prince, and from sumo wrestlers to sled dogs.

The Cost of Living by Deborah Levy

Levy’s memoir in essays, about finding her place in the world after a divorce, is not only a personal reflection but a meditation on what is demanded of women.

The World Only Spins Forward by Isaac Butler and Dan Kois

Expanding on their oral history of Tony Kushner’s masterpiece play Angels in America in Slate, Kois and Butler meticulously trace the play’s creation, reception, and legacy by talking to dozens of the people involved. For more, read Helena Fitzgerald’s essay about the book and its focus text.

Feel Free by Zadie Smith

Listen, we don’t have to tell you to love Zadie Smith! You already love Zadie Smith, and these are her essays about books, culture, politics, social media, and more.

Calypso by David Sedaris

Sedaris’s work, often informed by his character-packed childhood, has always been a little zany and a little sad. This collection, in which he grapples with aging and loss, leans more towards the poignant side.

The Reckonings by Lacy Johnson

This essay collection, which deals with bleeding-edge issues like sexual violence, social justice, and the misuse of power, feels like a necessary read for our times. For more, read our interview with Johnson.

Sick by Porochista Khakpour

What happens when your body starts to revolt, and nobody knows why? Khakpour’s self-revealing memoir deals with physical and mental illness, and also with the illnesses of our culture. Check out our interview with Khakpour.

Dead Girls by Alice Bolin

In her collection of essays, Bolin tracks the female corpse through books and TV, investigating how our love of female suffering shows up fault lines in our culture. For more, read our interview with Bolin, or Scarlett Harris’s essay about how the dead girl is now giving way to the killer woman.

Tonight I’m Someone Else by Chelsea Hodson

Hodson’s debut essay collection combines threads of intimacy and longing with mediations on cultural artifacts from classical music to Grand Theft Auto. We caught up with her about why being a writer is such a slog.

All You Can Ever Know by Nicole Chung

Adopted by a white family as a premature infant, Chung never really intended to look for her biological roots—until she got pregnant herself. Her book is an exploration of identity, belonging, and family. Here’s Chung on her own story and Taylor Moore on what the book meant to her as a transracial adoptee.

The Recovering by Leslie Jamison

Jamison’s ambitious memoir is not only about her own recovery from alcoholism, but about how intoxication, addiction, and recovery function in our culture. Read our interview with Jamison here.

Heavy by Kiese Laymon

Dealing with family secrets, eating disorders, sexual violence, and other personal struggles, Heavy is heavy indeed—but it’s also lofty and elevating. Laymon talked to us about truth in personal writing.

How to Write an Autobiographical Novel by Alexander Chee

Chee’s essays look at the forces (and personal effort) that shaped him into a writer, but also the ones that shaped him into a human being. Find out the five books by non-men Chee recommends, or read a discussion among four Korean American writers about his influence.

When the Land That Made You Goes Up in Smoke

In An Imaginary Life, his novel about Ovid’s exile from Rome in the 1st century, Australian author David Malouf examines how separation from a beloved landscape can offer fertile ground for the imagination. Malouf’s Ovid describes with rapture how the discovery of a single poppy in an otherwise barren field causes memories to come cascading:

Poppy, scarlet poppy, flower of my far off childhood and the cornfields round our farm at Sulmo, I have brought you into being again, I have raised you out of my earliest memories, out of my blood, to set you blowing in the wind…Suddenly my head is full of flowers of all kinds … I am Flora. I am Persephone …

Ovid’s Rome burned less than a century after he was banished. Listening to the voices of people fleeing fire in the California I love and left, the voices of my friends on the telephone, I imagine Ovid in our current era of tech and disaster, watching his home burn from afar. While the first snow falls outside my window, I scroll through pictures of a California obscured by smoke and search my memory for a landscape I can recognize. I wonder if the blaze, had he seen it, would have also consumed the garden in his mind.

The spring I began attending the Buddhist meditation in Columbia, Missouri, where I now live, was the year the Deepwater Horizon oil rig exploded and then sank into the Gulf of Mexico. The images caught on the “spill-cam” were the stuff of nightmares: the oil bloomed underwater like a poisonous mushroom. It gushed while you brushed your teeth, while you went to work, while you slept, even now, while you meditated, waiting for the bell.

An American public with no prior knowledge of wells and the specific nature of their hazards soon became familiar with the various attempts to stop the leak. The Top Kill and Junk Shot failed spectacularly on live television, which didn’t seem all that surprising given that the second rested on a strategy of pumping trash and golf balls into the blowout preventer of the rig. No matter what the engineers did, the oil kept coming. Soon, the slick was as large as South Carolina.

In the discussion after the meditation a woman who had grown up in the area of the spill confessed that she found it hard to think of anything else. She wasn’t sleeping. The landscape she loved was dying and she couldn’t concentrate on work or family. Listening to her voice we could all sense loss rising inside her like the giant plumes of undersea oil. Part of the practice of Buddhism is to keep the awareness of change in the forefront of your mind, to live as though you understand you are dying. I recognized the panicky feeling I got when I watched coverage of the spill as related to my own fear of death. The Deepwater Horizon catastrophe seemed to be a good metaphor for what led me to Buddhism in the first place: the question of impermanence and the inevitability of loss. The disaster was different for her, however. She came from the Gulf area. This wasn’t about death or loss in an abstract sense. It was personal.

In An Imaginary Life Malouf imagines the poet speaking to us two thousand years into the future. He acknowledges that there is much he cannot know about our lives. Do we still read Latin, he wonders? He imagines us among furnishings he would not recognize, our gardens blooming with flowers he does not know. But given all those unknowns he nonetheless trusts that we still look to the landscape to find ourselves, as he has done. He writes:

If the gods are there, it is because you have discovered them there, drawn them up out of your soul’s need for them and dreamed them into the landscape to make it shine.

In the absence of calamity, it is easy to overlook the fact that the land around us is changing, as we are. Usually it happens too slowly for us to notice. I suspect that because the landscape seems permanent, our relationship with it seems to offer us a kind of permanence, too. We see the abrupt disasters that we have wrought rather than the gradual erosion of mountains, though both are occurring. In that same way, we forget that our bodies are changing when we are in good health; it sometimes takes a catastrophic event to make us notice how much of what we took for granted is already gone. There is a big difference, however. In spite of the pluming oil, the spreading flames, and all the other injuries we are inflicting on the landscapes we love, it is we who are dying.In the absence of calamity, it is easy to overlook the fact that the land around us is changing, as we are. Usually it happens too slowly for us to notice.

When asked how his own fiction might have been different had he never left his hometown of Brisbane, Malouf said, “I don’t think I ever left. I don’t believe you ever, as a writer, leave the first place you know.”

His is an answer that resonates with me both as a writer and as someone who has strayed far from home. Though I’ve been in Missouri for half of my life now, I was raised in Marin County, California, just across the Golden Gate Bridge from San Francisco. San Francisco is my Brisbane. My fiction has unfolded over and over again in a western, coastal landscape.

One of the first things I published was a short story called Men and Fish, about a woman who wrote a fishing column for a Bay Area newspaper. She had fled the Midwest where she had experienced a great loss, to remake herself in California. She was wary, suspicious and slow to forgive. By the time I wrote that story, my father, born in Missouri, had been fishing for salmon off the coast of northern California for over thirty years. Among the many things I borrowed from him for that story were the names of the lures and flies (Cable Baiter, Royal Wulff, Pale Morning Dun), the skepticism between anglers (the first line of the story is: Men lie about fish) and the fact that the biggest salmon were called pigs because of their pink flesh.

In the absence of calamity, it is easy to overlook the fact that the land around us is changing, as we are.

It takes about three hours to get from where my father kept his 22-foot Bay Liner to the waters around Duxbury Buoy, off the southern tip of Pt. Reyes. He always left just at dawn. My husband, Robert, tells the story of bobbing on the ocean one morning, the light of the rising sun hitting the red cliffs before Stinson beach, while my father bent to work on the aging engine. Holding his coffee thermos with both hands, asking my father again if he could help and being rebuffed, my husband turned to see the glistening back of a grey whale pushing through the water a few feet from the boat. The back of the whale grew in a rapidly expanding oval, like an enormous baby crowning, as silent as an ocean swell that rises without breaking. It could have easily dumped them both into the water, my husband reported, without even meaning to do them harm.

“Jim.”

Hearing awe and more than a bit of panic in my husband’s voice, my father straightened his back and turned to look.

“He wasn’t scared at all,” said Robert later. “He was just extraordinarily calm.”

My father was rarely that calm on land. Though life on the coast had changed him in important ways, he had never really been able to leave the Midwestern fields of soy and corn, or who that landscape had made him, behind. He remained wary, suspicious and slow to forgive. For years the salmon had been declining in the Pacific and my father noted the change each time he chugged through the gate toward the open sea. In 2002, in what has come to be called the Klamath Die Off, tens of thousands of Chinook rotted on their way to spawning grounds. My father attributed the diversion of river water for agriculture and the resulting decimation of that particularly large salmon run to greed and stupidity. He was rarely surprised by the human capacity for either.

Crossing the Golden Gate at the beginning or end of any visit, I look west toward the Farallon Islands and strain to see the fishing boats, wondering if any friends of my father’s stand on their decks. I glance down at Kirby Cove beach and remember camping there as a small girl, the icy water hitting my legs as I waded. Wherever I go in the county where I was raised I see personal landmarks, each one stamped with a plaque of memory: the hillside where hiking with my brother I was almost hit by a car, the bench where I sat radioactive with my first broken heart, the 7-Eleven where my friends and I lurked in the parking lot, searching for someone to buy us beer. It doesn’t really matter that the 7-Eleven was long ago converted to a gourmet deli and that most of my friends, like me, have moved away.

Wherever I go in the county where I was raised I see personal landmarks, each one stamped with a plaque of memory.

It’s hard not to imagine that some memory of me doesn’t also remain in the place itself, to match the ones I take with me when I leave. It’s easy to imagine that these memories are shared between us, between me and the land, in the way they might be with a friend or a parent or a lover. In this post-industrial age we have a unique sense of the damage we have done to the earth and may yet inflict upon it. This awareness colors our feelings for the land, I suspect, in the way that you can grieve for your lover even when they are sitting right next to you, because you know you will inevitably lose them. And you will, yourself, be lost.

When my husband and I reversed my father’s migration, moving from the West coast to Missouri to work and raise our children, he visited only reluctantly. He always seemed a bit stunned to find himself back in the place he had been so determined to leave behind. He had fled Kansas City on a motorcycle after the war, confident that he could remake himself on the coast. In Kansas City he had come from the poor half of a large family. He had spent time in the care of a charitable organization when his single mother couldn’t manage him. Sent to Boonville, Missouri for military school, he had been a Jew among gentiles who never invited him into their homes. Required to go to church on Sunday, he had rotated among all the churches in town so that he wouldn’t have to join one.

My father believed he could find a new version of himself in a new place, in a radically different landscape. In that he might have agreed with Malouf’s Ovid, who cautions against viewing the land we inhabit as something entirely outside of us. It is something we create, he argues, and we create it together.

The spirits have to be recognized to become real. They are not outside us, nor even entirely within, but flow back and forth between us and the objects we have made, the landscape we have shaped and moved in.

Though Kansas City indeed remained a part of him, my father did not fail in this project. The Californian he was to become would be wealthy where he had once been a poor cousin, he would be a world traveler and no longer the person who reached adulthood before going to the bathroom in a gentile’s home. He may have been born a landlocked Midwesterner, but the Californian my father would become was at home on the water.

During his last visit to Missouri, when he fell and broke four ribs, it made sense to me that he and my mother would stay with us where they had help. However, my father did not intend to die in the state where he was born. Though confused and in pain, he did not find it at all comforting that the accents of the nurses and nurse’s aides in the hospital resonated in his memory. The rain turned to ice against the windows. When I asked my mother where she thought they should be when the music stopped she said, “California.”

Less than a year after his fall, we spread my father’s ashes in the water off Stinson beach and Kirby Cove, within range of Duxbury Buoy. Where the whale breached and where he had seemed calm and at home. This was the message I wrote to my friends on the day of his death: When I heard my father died this morning I pictured a hot air balloon. A burst of flame, a gust of wind and there he goes, over Mt. Tamalpais, through the Golden Gate, out over open sea.

The wind that carried my father’s spirit away, if it existed at all, would not have ruffled the waves below or moved even a grain of sand on the beach at Kirby Cove. My father is now part of the landscape in a new way, and even so, it is indifferent to him, as it is to my memories of him.

My father is now part of the landscape in a new way, and even so, it is indifferent to him, as it is to my memories of him.

The love that we carry for Brisbane or San Francisco or the Gulf may feel like a relationship, but if it is one, it is unrequited. This here is the truth: when I am gone and my children are gone and their children, if they have any, are gone, the land will not remember us. Even if we are the last, if we have in fact done that to ourselves, neither the ocean nor the mountain will care.

The California my father returned to at the end of his life was both a physical place — the yellow hills, the redwoods, the bay — and the place he needed to find. It was a California made for a man who carried Missouri inside him. The California I think of my home is the place where his spirit resides. I look out my window and see snow, though it looks to my eyes like ash. It doesn’t look back or notice me at all. It just falls.

8 Place-Based Novels That Are as Good as a Trip Around the World

When writers get asked how their novel came to them, some might answer that a character spoke first or a sentence sounded to them, and for others, like me, we require an arrival of a place, or rather, our arrival to one. More often than not, a place to a writer involves double vision — of a public site in a physical world, with its palpable dirt and smells and history, and of its twin conjured from uncertain imagination and memory. It’s the dual life of any one place — perhaps a city or a house — that offers me the necessary energy for genesis.

Purchase the book

My writing allows me my visitations to many places. I’m an eavesdropper and archivist; I go and return, bringing back leaves of documentation; a sack of coded images; the recording of conversations. I don’t think I’m alone or even a rarity in this travel. To me, many novels invite the reader farther into the narrative, by virtue of a place that feels as alive and necessary as the characters within them. I wrote my novel Bangkok Wakes to Rain in this way, letting my mind wander in
the city where I was born and hearing the city tell me stories. I arrived at the site of a house that, to me, became a theatrical stage where characters — from a self-exiled jazz pianist to a former student revolutionary — entered and left; I followed them, like a clandestine voyeur, across time and worlds, old and new.

Eudora Welty perhaps said it best:

It is through place that we put out roots, wherever birth, chance, fate or our traveling selves set
us down; but where those roots reach toward-whether in America, England or Timbuktu-is the deep and running vein, eternal and consistent and everywhere purely itself, that feeds and is fed by the human understanding.

Brandenburg, Germany: Visitation by Jenny Erpenbeck

In Thailand, we believe in entities called land spirits, who invisibly co-inhabit the places where we live. This novel by Jenny Erpenbeck feels like it could be told from the point-of-view of such an entity. Starting from the prehistory of the land, the narrative never veers from an estate in Brandenburg, Germany. From this fixed shot, we witness how its occupants — including an architect, a Jewish merchant family, and occupying Russian soldiers — come and go, no different from the plants that change, season after season. Only a gardener remains constant, dutiful to the grounds to the end.

The Azores Islands, Portugal: The Woman of Porto Pim by Antonio Tabucchi

I’ve never been to the Azores, but I feel as if I’ve glimpsed the heart of the islands through this slim book by Antonio Tabucchi. Told in fragments, Tabucchi’s mosaic portrait of a place and its fading culture pulls in dreamed mythologies of island gods, accounts of whaling that recall Melville’s, and stories of doomed love. Like the whales that they hunt, the seafaring people that Tabucchi tells of feel bound to the sea and its eternal drift.

Tokyo, Japan: Thousand Cranes by Yasunari Kawabata

I first read this novel when I was very young, and I think it was only after reading it much later did I appreciate how much Kawabata coiled into its pages. In the novel, an inherited place becomes a conduit for the past to re-manifest. A young man of high social status finds himself unable to escape the relationships and complexities left behind by his dead father. The drama unfolds quietly, the rites and objects of tea ceremonies fraught with tension at a tea cottage that serves almost as a stage set. The book paints a portrait of a Japanese society, like that of many other Asian countries, lurching towards modernity while caught in the inertial pull of the past.

A Fictional Town in Oregon: Searoad by Ursula K. Le Guin

Most people know Ursula K. Le Guin as a pioneer of science fiction and fantasy, but the first book I’d read of hers didn’t involve extraterrestrial worlds or wizardry. Searoad takes place at a fictional seaside town in Oregon and concerns the lives of its myriad residents. I feel that I’ve always been a fan of works that move through many narratives over time to create a fragmented view of a place. With these, a caution flag often flies up when it comes to the balance of depth vs. breadth. With Le Guin, no flag ever flew.

Three New Poems by Ursula Le Guin

Harlem, New York: Jazz by Toni Morrison

Amidst a very snowy winter in woodsy New Hampshire, the coldest weather I’d ever experienced as someone from the tropics, New York was the place most on my mind. Jazz was the reason. I’d borrowed the book from the artist colony library, and soon the collective soul of Harlem — the streets and buildings and multitudes of lives in a neighborhood — called out to me. The city and its multitudes are seemingly the voyeuristic storyteller of a love triangle gone fatally awry. I spent a lot of time by myself that winter, but when I opened up this book, I was never alone.

Paris, France: Paris When It’s Naked by Etel Adnan

Sometimes a worldly city is best captured not by a native but a transplant. Etel Adnan, originally from Beirut, offers a highly sensorial, flaneur-like account of a life in Paris. She defies any urge to satiate a touristic gaze of the city. Yes, it’s a romantic city but also one that exacerbates loneliness, “…a mixture of paradise and hell…” Protests seem to happen every day; there’s always something terrible in the news that sends the narrator’s mind overseas from the imperial capital; a Pan-Europe encroaches, unnerving this Parisian convert. No real discernible narrative is set in motion. Nothing is at stake but everything that a mind can contemplate in a changing place.

Image result for unnecessary woman

Beirut, Lebanon: An Unnecessary Woman by Rabih Alammedine

War brings devastation to a place, but to the narrator of Rabih Alammedine’s novel, that place, despite its scars and threats of violence, will always be home, like it or not. To her, “Beirut is the Elizabeth Taylor of cities: insane, beautiful, tacky, falling apart, aging, and forever drama laden.” It’s here, at the building that she refuses to leave — part of a wartorn cityscape in which the reader also comes to find deep familiarity — that she takes refuge into the worlds offered by Western literature and music. As with all recluses and isolationists, she cannot turn away a place and its community forever.

Gerolimenas, Greece: A Separation by Katie Kitamura

Although I haven’t read much of the mystery and whodunit genre, I could appreciate how Katie Kitamura’s novel turns what I know of mystery/thriller tropes on their heads. The book’s narrator goes to look for her missing husband at a seaside Greek village where he’d been studying funeral rites, but her search refuses to yield the usual procedural answers. The southern Greek landscape that she evokes, with spartan houses and land scorched from wildfires contrasting with a more luxurious resort for honeymooners, provides a seemingly extraterrestrial setting that turns the narrator into a strange visitor of a foreign place and her own autopsied history, with little that turns out to be knowable.