Everything Is Super Normal and Definitely Nothing Is Weird at All

“The House Guest,” a story by Beau Golwitzer

There was a wife and husband.

The wife and husband were named Lindsay and Steve.

“Hi, my name is Lindsay, and that’s my husband, Steve.”

One day, Steve and Lindsay were entertaining a house guest; however, neither of them knew who the house guest was, exactly.

The house guest had just appeared, exactly.

Suddenly, the house guest was just standing in the middle of their kitchen, exactly.

Lindsay offered the house guest a sandwich. “Would you like a sandwich?”

The house guest’s face lit up. “That would be excellent!”

The house guest had this rather large, square face that when lit up looked scary.

At the sight of the house guest’s face lit up like that, Lindsay turned white, then she went to prepare the sandwich.

While Lindsay was preparing the sandwich, Steve sat with the house guest.

The house guest smiled at Steve and Steve smiled back.

Steve didn’t know what to say, so he remained in silence, but smiling.

Finally, Lindsay slid a plate in front of the house guest. “Eat up!”

The house guest took a rather large bite of the sandwich.

“Wow, what a big bite!” Steve said.

“Thank you,” the house guest replied soberly, then with his next bite ate the rest of the sandwich.

The house guest licked his fingers, until he had licked all of them — one, two, three, four.

Which was when Steve realized that the house guest had only four fingers.

“Oh, God, I have to use the bathroom,” the house guest declared.

“The restroom,” Steve corrected him.

“Where the fuck is it?” the house guest asked, smiling.

Steve and Lindsay both turned white.

Lindsay pointed upstairs with a shaky finger. “The bathroom is up-up-upstairs.”

When the house guest had gone, Lindsay whispered, “Who is that, Steve? He really liked my sandwich.”

“He loved your sandwich, Lindsay, and I don’t know who it is.”

Steve thought for a moment. “Is it Tamara’s brother?”

“Wasn’t Tamara’s brother killed in a water-skiing accident?”

“I almost hate to say it, but he was impaled upon a ski,” Steve said, shaking his head.

“Horrible,” Lindsay said, shaking her head.

The house guest returned. “Actually, I couldn’t find the restroom. I searched and searched.”

The house guest was covered in some kind of white powder, but both Steve and Lindsay were too afraid to ask why.

“Perhaps I gave poor directions,” Lindsay said.

“Language is slippery,” the house guest said.

“One, two, three, four,” he said, counting with his four fingers.

“I’ll take you upstairs,” Steve said.

Steve led the house guest to the bathroom and then returned to the kitchen. “Maybe it’s Kristen’s brother? Do you remember Kristen’s brother?”

Lindsay thought for a moment. “Didn’t Kristen’s brother — ?”

“That’s right,” Steve said, taking a deep breath. “The common cold.”

“In any case,” Steve continued, “I keep feeling like I’m about to recognize him, then I don’t. It’s like that time in the mountains. Remember?”

“When we were hiking and suddenly that man appeared?” Lindsay said.

“Yes, and then he stayed in our cabin for the night?” Steve said. “The next morning, though, he wasn’t there? And we thought we had dreamt him?”

“Then, I couldn’t find my passport?” Lindsay said. “And we thought he’d stolen it? But then I found it later?”

“Yes!”

The house guest returned to the kitchen. “I thought all I had to do was pee, but then I had to take a shit.”

Steve turned white.

The house guest laughed. “You turned white, Steve. Is that because I took a shit?”

“Haha, no.”

“I hope it wouldn’t be too much trouble for me to spend the night,” the house guest proposed.

Lindsay looked at Steve. “Of course not. Then you would be a real house guest.”

Steve turned to the house guest. “My name is Steve.”

“No duh, Steve,” the house guest said.

“I’ll get the bed ready for you, Steve,” Steve said.

Then he laughed, somewhat maniacally. “I called you Steve — when I am Steve!”

The house guest looked very serious. “I am not Steve.”

As Steve was getting the bed ready, Lindsay sat with the house guest in the TV room.

“Do you want to watch a documentary?” she said, turning on the TV.

Soon, she had found a documentary — on elephants.

The elephants on screen were bathing themselves in a pool of muddy water.

“That gives me an idea,” the house guest said. “May I have a bath?”

The elephants on the screen seemed to look directly out at Lindsay and the house guest — perhaps with a look of concern?

One of the elephants lifted its trunk and blew out a loud snort.

“Of course,” Lindsay said.

On the way to the bathroom, they passed the bedroom, where Steve was struggling, wrapped up entirely in one of the bedsheets.

In the bathroom, Lindsay plugged the tub, turned on the faucet. “Do you like it very hot? My name is Lindsay.”

“I like it steaming, Lindsay!” the house guest said. “I like to hurt, Lindsay!”

Lindsay turned red.

The house guest patted his pants pockets. “Dammit, I forgot my toothbrush. I go nuts if I can’t brush my teeth.”

Trembling, Lindsay said, “I’ll see if we have an extra one.”

She dug around in the bathroom closet. “Steve!”

Steve limped to the door. “I think I pulled a hamstring.”

“Is there an extra toothbrush?”

The house guest was pointing at his mouth. “Ah ah ah.”

Steve looked in the closet, but couldn’t find one.

“Steve, if I may use yours,” the house guest proposed.

“Yes,” Steve said, with his head down.

As the house guest bathed, Lindsay and Steve huddled in the hallway.

Steve held Lindsay’s hand, caressing the back of it with his thumbs.

“Maybe it’s my cousin, Max,” Lindsay whispered.

“No, Lindsay,” Steve whispered.

Soon, the house guest had rejoined them.

He was wearing Steve’s clothes, and they were soaking wet. “I couldn’t find a towel so I put on Steve’s clothes.”

“The towels are,” Steve began.

“The towels are what, Steve?” the house guest asked.

“The towels are white,” Steve said, “in case you’re looking for them next time.”

“Thank you, Steve.”

The three of them walked through the kitchen, and then out onto the back deck.

The house guest went into the yard, picked a blade of grass, threw it in the air. “There’s no wind.”

Steve and Lindsay returned to the house.

At first, it appeared the house guest had not returned with them.

Then, he was standing there with them.

“What do you think we’ll have for dinner?” the house guest said, smiling.

“I don’t know,” Lindsay said disconsolately.

“Then breakfast, then lunch?” the house guest continued.

His weird square face lit up like a burning house.

Lindsay looked at Steve helplessly.

“Dinner, breakfast, lunch!” the house guest began to chant. “Dinner, breakfast, lunch! Dinner, breakfast, lunch!”

He made a conducting motion with his arms, ordering Lindsay and Steve to join.

“Dinner, breakfast, lunch,” Lindsay began to chant.

“Dinner, breakfast, lunch,” Steve began to chant as well.

“Louder!” he demanded.

They got louder. “Dinner, breakfast, lunch! Dinner, breakfast, lunch!”

“One, two, three, four!” the house guest shouted. “Now we’re doing it!”

Steve and Lindsay, chanting, huddled together.

The house guest joined them, putting a hand on Lindsay’s shoulder, the other on Steve’s head.

Steve screamed, Lindsay screamed, the house guest smiled.

About the Author

Beau Golwitzer’s writing has appeared in such journals as BOAAT and Wigleaf. He lives in Chicago with his wife.

“The House Guest” is published here by permission of the author, Beau Golwitzer. Copyright © Beau Golwitzer 2018. All rights reserved.

14 Literary Podcasts That Aren’t Hosted by Three White Guys

If you have a long daily commute to work, or generally spend a significant amount time on public transit, you probably understand and appreciate the benefits a good literary podcast. Rather than listening to the sounds of the train, you can put on your headphones and drown out the couple fighting next to you with the sound of a witty voice talking about literature.

But a good literary podcast that is not hosted by a white man — or, even more typically, a trio of white men — is not so easy to find. More often than not, literary podcasts are offering a pretty pale literary landscape; the hosts and of the writers they interview rarely celebrate diversity in the literary world. For those looking to make up for lost time spent on the subway, here is a list of podcasts that do.

Minorities in Publishing

Minorities in Publishing, hosted by Electric Literature contributing editor Jennifer Baker, “is a podcast discussing diversity (or lack thereof) in the book publishing industry with other professionals working in-house as well as authors and those in the literary scene.”

The VS Podcast

In this bi-weekly podcast, poets Danez Smith and Franny Choi “have conversations with the people who have chosen to stand between the world and its articulation into language.” They talk about and with poets who are changing the world of poetry, centering the discussion around the artists’ craft as well as the questions they seek to answer in their art.

I Found This Great Book

Subtitled “A Home for Readers of Diverse Books,” this podcast covers books, both new and old, with an emphasis on subjects and authors of under-represented groups.

Black Chick Lit

“The Black Chick Lit Podcast features in-depth discussions of the latest and greatest works penned by black women. Join Danielle and Mollie as they talk prose, judge every character’s decisions and laugh at their own jokes.” From The Hate U Give to Beloved, from film adaptations to new releases, Danielle and Mollie discuss it all.

Mostly Lit

“Through their pioneering podcast and social media they promote the message that anyone and everyone can be a reader and Mostly Lit strives to create more inclusive and diverse publishing and media landscape that also reflects that message.” The creator and host, Alex Reads, is a writer and actor whose passion for literature and performance lends itself to an engaging voice in his podcast alongside co-hosts Raifa Rafiq and Derek Owusu. Together, the trio talk about the “multicultural millennial” experience as it pertains to literature, pop-culture and film.

Food 4 Thot

Disclaimer: this podcast is not about food, they just like the pun. Food 4 Thot discusses “sex, relationships, race, identity, what we like to read & who we like to read.” The thots — I mean hosts — are a poet, an editor, a writer, and a scientist, bringing a wide range of experience to an interesting range of topics.

17 Literary Podcasts to Ease Your Commute

Books and Boba

Every month at Books & Boba, co-hosts Marvin Yueh and Reera Yoo select and highlight one book by an Asian or Asian America author. Their selections, which have included the likes of Ishiguro’s Never Let Me Go and Han’s To All the Boys I’ve Loved Before, are explored through discussions about the impact they’ve made on the host and interviews with the author. In between episodes about the month’s selection, they host a “Book News” episode, in which they talk about publishing news and new releases in Asian American Literature.

Not Another Book Podcast

From their bio: “Every fortnight we share popular and unpopular opinions about the books you love.” Hosted by a culture critic, a book blogger, and a writer/editor/translator, this trio of witty voices lends a refreshing, insightful, and even snarky take on news in the African literature scene.

Three Percent

From the website: “In this age of globalization, one of the best ways to preserve the uniqueness of cultures is through the translation and appreciation of international literary works.” The name of this podcast — and the site from which it comes — acknowledges the fact that only around three percent of the books published in the United States are translated from other languages. Hosted by the creators of the site, Chad Post and Tom Roberge, the podcast explores an array of topics about international works, from evaluating different translations to introducing the recipients of the Best Translated Book Award.

AAWW Radio

Asian American Writers’ Workshop is a national nonprofit committed to telling the stories of Asian Americans. Their podcast has featured beloved writers like Hanya Yanagihara, Roxane Gay, and Claudia Rankine. “We’ve got it all: from avant-garde poetry to post-colonial politics, feminist comics to lyric verse, literary fiction to dispatches from the racial justice left.”

Black & Read

Sometimes talking with friends about books doesn’t yield many new or fresh opinions, especially if your experiences are similar. In this podcast, host Terry Brown aims to bring something different to the bookclub (even if the bookclub consists of just you and your headphones). “Each week Terry and his guest will discuss a piece of literature from the unique perspectives of a person of color.”

Books, Beats, and Beyond

“Books, Beats, & Beyond focuses on alternative and marginalized history, progressive issues, and provocative and thought-provoking music.” Taj Salaam — self-described as just your average human who reads an above-average amount — interviews writers, journalists , musicians, scientists, and scholars.

Can’t Lit

This podcast is devoted exclusively to Canadian literature. Co-host Jen Lee said in an interview with CBC, “The thing about Canadian literature is that people think it’s staid or boring, and that discussions about inclusion or diversity aren’t happening. We try to meander into these conversations, but in a natural and organic fashion. And we are both interested in craft. [Co-host] Dina [del Bucchia], of course, is also a poet and she can ask wonderful questions about poetry that are well above my pay grade. And I care about things like how culture is being represented in our fiction, and people can present stories that we haven’t heard from yet.”

We Want the Airwaves

Host Nia King explores intersectionality in the literary and political world through this podcast by seeking out and talking with “political queer artists, trans artists, and artists of color who seem to have figured out how to make art and make rent without compromising their values. Nia King’s trying to figure out if her dream of making a living as an art activist is beyond reach.”

Please Do Not Give Me Another Freaking Bookmark

The most addictive and perplexing content of the holiday season is the magazine gift guide. I’m fascinated by this calculated approach to goodwill and how it encourages me to reduce my friends and family to single entities: The Baker, The Tech Fiend, The Mom, The Guilty, The Innocent.

If you’re shopping for The Reader, you’d be forgiven for concluding that a Reader is someone who spends all their free time drinking tea in bed and taking luxurious candlelit baths. You yourself may read a lot of books, but that’s not enough to be a Reader as far as gift guides are concerned. You have to also covet Jane Austen-themed socks and a witty Oscar Wilde mug.

So what do you get for the reader who’s just a reader, not The Reader? What do you get for people who like to read books instead of wearing them on a scarf? Here’s our list of things to avoid, and alternate gifts that readers may actually like.

What Not To Get: A Bookmark of Any Kind

So you think your literary friend might enjoy a bookmark! Your impulse is probably to buy the fanciest version you can find, which is, presumably, why a Secret Santa once gave me a metal one (bronze? Steel? It had the feel of a screwdriver). Perhaps you’ve seen the type; the body has a thin U-shaped cut out and they’re essentially meant to work like a giant paper clip, which, incidentally, is not something you should ever use as a bookmark. The weight of the thing made me apprehensive of what did, in fact, occur after I clipped it onto my book: it made the page flop sadly over, then tore the paper when I tried to slide it off, having far overreached its goal of marking my page. This bookmark was clamped on with such force that I would have been able to find my place even if I’d been sucked into a tornado and spat back out again. As I, regrettably, don’t know anyone who lives in Kansas and might enjoy such a feature, I later re-gifted it as a money clip. I’ve also received: an over-dyed suede bookmark that left two pages of my book smudged with purple, a tasseled bookmark that my dog pulled out of the book and tore to shreds, and a bookmark printed with the facade of a museum I’d never been to. I can appreciate that some people have real pet peeves about creasing a book (I think it adds a sense of being loved, like splatters on a cookbook) but you can do better by even your most perfectionist friend than buying them a bookmark.

Get instead: A book from a local bookstore which comes with its own paper bookmark tucked inside (two gifts for the price of one!)

Photo by Wicker Paradise

What Not To Get: A pillow embroidered with a literary quotation

I have five embroidered pillows; my mother needlepoints them by hand and they’re delightful. Once when I was selling an old kitchen table through Craigslist, a young woman came to my apartment, took one look at my couch, and asked if the pillows were also for sale. She thought she’d be able to get a 10-foot table home on the L train during rush hour, but still! Let’s agree there is nothing wrong with decorative cushions. However there is a time and place for quotations, namely graduation speeches, sympathy cards, and tote bags. Quotations can start books and sell books, but they shouldn’t adorn a pillow. As Cicero says, “A room without books is like a body without a soul,” and a room decorated with literary quotations is like telling everyone your favorite book is Moby Dick and what a shame so many people are intimidated by its length!

Get instead: Electric Lit’s “Writing Well Is the Best Revenge” tote.

Photo by Bryan Clark

What Not to Get: A clip-on reading light

If you’ve ever stood in the checkout line at Barnes and Noble, you’ve probably seen these lights, which are about the size of a keychain flashlight and clip onto the cover of your book. The appeal, as I understand it, is that they allow you to read in bed while your partner sleeps, and since my husband needs less sleep than I do and we still haven’t figured out what to do when he wants to keep reading in bed and I want to pass out, we decided to try it. The overhead lights went off, he turned his mini light on, and I lay there, feeling like I was trying to sleep next to a man going spelunking, or, judging by the size of the light, a child working in the mines. The worst part was that the light was perceptible on my side of the bed, a guilt-inducing luminescence that reminded me that my better half was more committed to literature than me. He was reading Turgenev while I was trying to catch a few extra Zs because I’d stayed up too late the night before watching The Great British Baking Show. In short, I recommend skipping the artificial light in favor of the gift of daylight hours, free to read.

Get instead: Grocery delivery, babysitting coupons—anything that will allow your friend some leisure time to get reading done before bed.

What Not To Get: Tea

It’s time to banish the cliche that book lovers drink tea. It comes from the easily rebutted yet enduring belief that people who love books must either be tweedy scholars or homely women. The tweedy scholar drinks tea because he is modeled off a British person — no matter how many times Ricky Gervais hosts an award show, Americans can’t seem to shake the image of Brits as erudite, literary aficionados — and the homely woman does so because she’s not drinking anything stronger. This is a little more troubling than giving British people more credit than they’re due because it implies that if you love coffee or movies or large dogs or speed-skating, then a book is not for you. This readers-as-nerdy-homebodies trope is especially strange when you consider how we also love to stereotype writers as aspiring Hemingways who chase their coffee with whiskey and bad behavior, yet writers are among the most avid readers. But more to the point: if you haven’t read My Struggle with a generous glass of Pinot at hand, you’re doing it wrong.

Get instead: A pourover coffee maker and a bottle of wine for every volume of Knausgaard.

What Not To Get: 1,000 Books to Read Before You Die by James Mustich, or any other compendium of books you should read

You think you’ve read a lot of books? You think you’ve covered most of the classics and are making headway on the important books of our time? Proud of your Goodreads list, you say? Able to stave off the anxiety that all true book lovers feel when they realize they can’t read everything before they die? Well, read this book, and think again. Essentially, this book combines the gift of condescension with the gift of panic.

Get Instead: Electric Literature’s Papercuts party game, so that they can feel good about all the literary knowledge they already have!

What Not To Get: Bookends

I hate to point out the obvious, but the purpose of bookends is to keep books upright when your shelf isn’t full. If you’re buying a gift for a true bookworm, they’re probably having the opposite problem and their shelves are packed end to end with books, their floor is covered in books, and their nightstand looks like a colorful game of Jenga.

Get instead: Floating shelves, because every wall looks better with books, even the one above your toilet.

How to Give Your Characters Unforgettable Names

Harry Potter. Sherlock Holmes. Willy Wonka. The best character names will worm their way into the apple of your memory — but that doesn’t mean they grow on trees. An iconic name might sound simple (James Bond) or simply outlandish (Katniss Everdeen), but whether it came from a name book or from a seemingly random collection of syllables, chances are your favorite character’s moniker wasn’t just picked from a hat.

So, to paraphrase Juliet, what is in a name? Well, that’s a hard question to answer. Dracula, for instance, has its etymology rooted in Romanian history, while Harry Potter was just a combination of a first name that J.K. Rowling liked and the surname of her childhood neighbors. And A.A. Milne named Christopher Robin’s beloved donkey Eeyore, because what does a donkey say? “Hee Haw.” Classic onomatopoeia.

No matter how the most famous characters got their appellations, there are certain types of names that are guaranteed to stick in your readers’ minds. Here are a few of the best ones — as well as tips on how to come up with some unforgettable names yourself.

Those that roll trippingly off the tongue

Shakespeare sure had a lot to say about words, words, words, didn’t he? Fitting, given his own contributions to the English language. And indeed, Hamlet has some choice words for a band of traveling actors, as he urges them to deliver speeches “trippingly on the tongue.” This advice remains among the Bard’s best, as a surefire way for creating a turn of phrase (or in this case, a name) that gets stuck in your head like a pop song.

Huckleberry Finn

The trick to creating a “catchy” name is in the pronunciation. Anna Karenina’s Stepan Arkadyevich Oblonsky might sound good in Russia, but in English, Arkadyevich is just a tough word to say. Huckleberry Finn, on the other hand, pours off the tongue like Mississippi molasses.

If it doesn’t sound good out loud, it probably won’t sound good in your reader’s head either. So say your character names out loud before you decide on one. And if it sounds good in the air, trust that it’ll be good on the page, too.

If it doesn’t sound good out loud, it probably won’t sound good in your reader’s head either.

Victor Frankenstein

Creative uses of consonance can also carry a name. Get it? Repeating consonants (or at least the sounds they signify, like Vic and Frank) is one effective way to forge a memorable turn of phrase.

But consonants can also call to mind certain associations in a way that vowels don’t. In the words of Dwight Schrute, “‘R’ is among the most menacing of sounds. That’s why they call it murder, not mukduk.” The hard T’s and R’s in “Victor Frankenstein” give it an unmistakably menacing sound — perfect for the protagonist of a gothic horror novel.

Atticus Finch

Finally, when it comes to giving your character a name, pay attention to syllables. Like Huckleberry Finn, To Kill A Mockingbird’s Atticus Finch has a multisyllabic first name and a monosyllabic last name. This way, there’s almost a rhythm to saying it. And nothing’s more catchy than rhythm.

Those that look good on the page

Character names that sound interesting are all well and good… but this is Electric Literature, not Electric Longform Spoken Content. Books are first and foremost a visual medium, so some of the best names in literature are the ones that look good on the page, too.

Bilbo Baggins

J.R.R. Tolkien’s eponymous Hobbit is a perfectly notable character all by his lonesome, but would his name be equally notable if it wasn’t for the back-to-back B’s? As you probably know, alliteration — repeating the first letter across multiple words — is a classic tool in the writer’s kit, and repeating the first letter across a first and last name should be, too.

Humbert Humbert

Or you could simply opt to repeat the first name itself. Repetition is another widespread literary device that is underutilized when it comes to character names. Take this example from Lolita, where Nabokov uses repetition to double down on the humiliation of his villain protagonist Humbert Humbert. Not to mention, seeing double makes it that much easier to pick the name out on the page.

How to Decorate Your House Like Victor Frankenstein

Pip

Dickens wrote one of the greatest novels of the 19th century and then gave the protagonist a three-letter name. Let’s just call that what it is: a power move. But it works, because Pip just looks good on the page. Why?

Well, for one thing, it’s a palindrome (albeit a very short one), and it’s one letter off from being onomatopoeic, too (for peep). But at the end of the day, when it comes to naming your character, sometimes shorter is just better.

Granted, Pip isn’t a classic character just because his name looks good on the page. The moniker Pip is also fitting of someone small and seemingly insignificant who can grow to become enormous and stately. A character with great expectations, in other words.

But, despite being a prolific creator of fun names (Martin Chuzzlewit, Mr. Pumblechook, Betsy Trotwood… the list goes on and on) Dickens is far from the only author to use names to convey something about characteristics. We’ll look at some more examples of this next.

Those that evoke characteristics

Consonants have connotations, but sometimes a name can be even blunter than that in conveying meaning. Here are some examples of names that tell you everything you need to know about a character.

Hannibal Lecter

Thomas Harris’s Lecter is the most noted cannibal in literature. Is it a coincidence that his first name is Hannibal?

It’s not like you should always rhyme your character’s name with their primary characteristic — that’s probably a slippery slope that could result in you creating Mr. Mostman the Postman, or Abigail Dressler, the wrestler. But when done with sufficient nuance, the payoff can be huge.

Don’t always rhyme your character’s name with their primary characteristic — that’s probably a slippery slope that could result in you creating Mr. Mostman the Postman, or Abigail Dressler, the wrestler.

Holly Golightly

The protagonist of Truman Capote’s Breakfast at Tiffany’s, made famous by Audrey Hepburn in the film of the same name, bears the name Golightly — a common surname, but also suggestive of her airy disposition and reluctance to take things too seriously. This is a neat trick on Capote’s part: he creates a realistic sounding name that nevertheless conveys something about the character.

Veruca Salt

The resident narcissist of Charlie and the Chocolate Factory, Veruca Salt simply sounds like a spoiled brat. That might seem accidental until you consider that Salt derives from the same root as “salary,” carrying connotations of wealth, while a verruca is a kind of foot wart that will send chills down the spine of anyone who’s ever used communal showers. So on a deeper level, Veruca Salt roughly translates to “rich wart.” And on the surface, the idea of pouring salt on a foot wart is just gross.

That’s why considering a name’s etymology isn’t just about leaving an Easter egg for the reader. It can be used to produce a reaction from them, even if they aren’t quite sure why.

Those that have made it into the modern lexicon

Penetrating pop culture is a fickle thing: who would’ve ever guessed that a name like Inigo Montoya would catch on in the way that it did? (R.I.P. William Goldman.) But sure enough, character names have been working their way into the modern lexicon since we started calling loverboys “Romeo” — and there are lessons to be learned from each of them.

Character names have been working their way into the modern lexicon since we started calling loverboys “Romeo.”

Scrooge

Dickens’ cold-hearted Scrooge, the Christmas-hating miser from A Christmas Carol, has become synonymous with those who hate the giving season and keep their money to themselves.

No one knows for sure how he got the name or why it caught on, but it’s suggested that Dickens saw the name Ebenezer Scroggie on a gravestone inscribed “a meal man” and misread it as “a mean man.” Whether this story is true or not, it’s a prime example of why, sometimes, the best character names come from real life.

Grinch

Dr. Seuss’ small-hearted Grinch, the Christmas-hating green monster has become synonymous with those who… well, you get the picture. And who knows how Theodore Geisel came up with this one? His most normal character name, The Cat in the Hat, was picked from a list of words that first graders can read, so all bets are off.

The fact is, it’s impossible to fully predict what names will stick in popular culture. Sometimes, the best approach might be to just pick one at random. But no matter what, with these tricks up your sleeves, you should never have to fall back on “Mary Sue” again.

About the Author

Emmanuel Nataf is the CEO of Reedsy, a marketplace that connects authors and publishers with the world’s best editors, designers and marketers. Over 5,000 books have been produced via Reedsy since 2015.

Sorry But Everyone You Love Is Going to Die

I was lying in my bunk bed at sleepaway camp when I realized I was going to die.

It was the summer of 2002, and my third summer at a girls’ camp on Lake Champlain. I was twelve years old, staring out at the starry sky outside my screen window, through the gauze of mosquito netting that somehow still let long-legged spiders inside, unable to fall asleep, trying to wrap my mind around the impossible idea of forever — when it struck me: forever was a really, really long time. And life, it occurred to me, was comparatively very short. And once you were dead, you were dead…forever.

The rest of my cabinmates were asleep, so there was no one to allay my fears. Beginning the very next day, everything from the prayer we sang before each meal to the few lines I sang in that summer’s production of Into the Woods as Cinderella’s Mother (who, by the way, is dead as of the time of her singing) took on a morbid tone.

I spent the rest of my time that summer grappling with the notion of inevitable, never-ending death and, in light of that, the limited plausibility of an afterlife. Even with what little I knew about science and the body and the history of the universe, heaven just didn’t hold water.

Even with what little I knew about science and the body and the history of the universe, heaven just didn’t hold water.

When I got home, I threw my fear and questions at my mom. “What happens when we die?” I asked. “What’s heaven like?” “How many sins can you do before you burn in hell?”

My mother’s answers varied, and none were satisfactory. Her idea of heaven: “I picture a sandy beach, with waves lapping at the shore, and everything is calm, and there’s soft music,” she said, which sounded horrifying, if for no other reason than for its dullness.

“But what kind of music?” “What if not everyone likes beaches?” “We’re just supposed to enjoy that forever?” The summer continued in this fashion, every night, and on through fall, into winter.

Last summer, I saw my father perform in a play in the small town where he and my mother have lived since 2008. He didn’t intend to get involved, but the play’s producer cornered him at the post office. “We’re short an undertaker,” she said. My dad, neither one to turn down a cry for help nor disappoint enthusiastic egging-on from my mom, accepted, which is how he came to play Joe Stoddard in the August 2017 production of Our Town in Tyringham, Massachusetts.

I’d read Our Town just once before, in a hurried, obligatory way. It’s one of those things you wind up reading at some point or another, I knew; one of those things collectively considered worth reading. When I told friends that my dad was going to perform in it, I heard story after story about friends’ first encounters with Our Town: how one woman returns to it every year, when she’s feeling sentimental about her son’s — and her own — aging. How one man got to act in it at several different points of time through his life, playing older and older characters each time. How another can’t read it at all anymore. “It’s too sad,” he said to me.

“Because everyone in the play dies?” I asked.

He shook his head. “Because everyone dies.”

In that first winter of my crisis of faith, my family took a road trip and we listened, on the way, to Les Misérables. In a song aptly named “Fantine’s Death,” Fantine, the unwed single mother who meets misfortune at every turn (though, much to its credit, the musical version of the book graciously omits the part where she sells her teeth), finally dies. In a weak delirium, she sings to her absent daughter:

Come to me, Cosette, the light is fading
Don’t you see the evening star appearing?
Come to me, and rest against my shoulder
How fast the minutes fly away, and every minute colder

Something about Fantine’s willfully blithe words to her daughter in plain sight of her death made me anxious and afraid in the same way that contemplating forever did. How could Fantine face her death so calmly? How could she make promises to her daughter that she knew she couldn’t keep?

My parents were alarmed when I started to cry — a generous reaction, given that the occurrence of my crying wasn’t exactly rare. In their attempts to reassure me, they insisted on the existence, if not of God, then of something after death, of not-nothingness. I’d heard this from my parents before, but that night, I turned to my sister beside me in the backseat.

“Do you believe that?” I asked her. She said yes. She had faith in God, and that’s what faith was: she chose to believe. That answer scared me more than the song had.

That weekend, I had no choice but to pack my fears away. But I watched everyone closely the whole time, wondering whether they were pretending to not be worried about all this, or whether they genuinely weren’t. Neither prospect relieved my discomfort. All I knew was that there was no way everyone else was going through their whole lives feeling the way I was feeling. No way. Or, if they were, then how come all they were doing was going about the mundane business of living?

If other people felt this way, then how come all they were doing was going about the mundane business of living?

I continued to pray at night, the way I’d been taught: first a short rhyming prayer (“Now I lay me down to sleep / I pray the Lord my soul to keep…”) and then what I liked to think of as the improv set: asking God to please bless my friends and family, especially Grammy and Granddaddy and Grams, and thank you for x, y, z… But I prayed suspiciously, which was probably worse than not praying at all.

I bring a good friend — one of my oldest, from high school — with me to Massachusetts the weekend my dad is in Our Town. I’d hardly finished pitching the idea to her before she said, “Are you kidding? Of course I’m coming to see Mr. Bradley act. Let’s go.”

I forget, when I’m not in Tyringham, how much time my parents have been here now, and how well people know them. I’m reminded today by the fact that when I set up my folding chair on the lawn of the town church, the people near me look at me and smile, not just with Tyringham’s characteristic small-town friendliness but with a look of recognition. I look like my mother, I remind myself. I can’t always see it, but everyone tells me so.

When I’m here in Tyringham, I always fall back into the same easy rhythm. I come inside, drop my bags near the door, take off my shoes, and greet my parents. Unless it’s very late, there is always a pot of coffee on, and even before the current pot runs out, one of us is already making another one.

I say “one of us,” but it’s almost always my dad. My mom will offload the duty onto me, and I’ll offload it on my dad. “I don’t make it as well as you do,” I say, which is part of it. “I always make it too weak or too strong and I ruin it.” “Bullshit,” he says. But he’ll make it for me anyway.

I’ve known how both my parents take their coffee since I was six or seven because growing up, every Christmas, my sister and I would spring out of bed at the crack of dawn and try to get our parents up. At first Dad would get up, put on the coffee, and make Mom’s for us to take to her — just a splash of milk, no sugar. But once we were tall enough to reach the cabinet where Dad kept his Sweet’n’Low, we got up and made the coffee ourselves and took it to both of them. That was the deal: they’d wake up at whatever insane hour we designated to open gifts and get the day going, as long as we brought them their coffee.

It still works now. If my mom is sleeping in later than we know she’d want to, my dad or I will try to wake her up. “Okay,” she’ll say, “five minutes.” Twenty minutes later, when she still hasn’t made an appearance, one of us will bring up a mug and place it on her bedside table. The smell alone is enough to open her eyes, and just like that, she’s up.

The play begins. The stage manager, who is essentially a narrator — played in this production by two older women and a man, who alternate scenes — speaks directly to the audience.

STAGE MANAGER:

This play is called “Our Town.” It was written by Thornton Wilder; produced and directed by A…. In it you will see Miss C….; Miss D….; Miss E….; and Mr. F….; Mr. G….; Mr. H….; and many others.

The Stage Manager takes questions at one point, and members of the audience pipe up: they’re actors planted among us, asking just the right questions to unlock rich and quirky answers about the town.

PROFESSOR WILLARD:
Let me see…Grover’s Corners lies on the old Pleistocene granite of the Appalachian range. I may say it’s some of the oldest land in the world. We’re very proud of that. A shelf of Devonian basalt crosses it with vestiges of Mesozoic shale, and some sandstone outcroppings; but that’s all more recent: two hundred, three hundred million years old….

At the intermission after the first act, I say to my friend, “The guy playing Howie Newsome looks like a cross between John Goodman and the guy who plays Walter in The Big Lebowski.”

“That’s also John Goodman,” she says. We watch Howie help a young member of the cast make a costume change, affixing his bow-tie to his collared shirt. The young actors in the play keep grinning and squirming, full of nerves. The adults are unflappable. They all know every single person in the audience — have grown up with most of them, been neighbors for decades, see each other every day, in their same routines.

For the final act of the play, we take our chairs and trundle up the hill behind the church to the graveyard. The place is a beautiful kind of mismatched, all large grey stones of differently pleasing shapes, each with plenty of space around it, some with small American flags planted in their soil.

When I spent summers here working, I used to walk around taking pictures of things in town: the tiny post office, the fire station, this graveyard. Cemetery is the less morbid term, I guess, but it never occurred to me that a graveyard was so bleak. Counterintuitively, the notion of dead bodies has never bothered me — the thing that scares me has already passed through them.

The third act is a funeral scene: that of Emily Webb, one of the characters we’ve followed throughout the play. She has died in childbirth, bearing a son to her husband, George Gibbs, whom we saw her marry in the second act. We see George and her family mourn, and then we watch Emily pass into a ghostly afterlife, interacting with people she knew from Grover’s Corners who died before her.

We watch her fight back against death, then accept the death-gift, in a sense, of being able to relive a lovely, mundane day from her life, an early birthday in her childhood home: her mother comes downstairs to make breakfast, and her father arrives back home from a trip out of state. She watches the neighbors talk in the street in their same routines, feels the familiarity of all she’s ever known rush past her, go by too fast for her to bear.

And then we see her take up the white umbrella that symbolizes her death, sit down, and fall silent, like all the other dead souls.

I knew this part was coming, but still I felt a sort of numb shock. Emily not only dies young, but is compelled — even after she sings the praises of everything in life that has been ripped from her — to come to peace with it? It fucking sucks. And it sucks most of all because we see a terrifying version of an afterlife where all there is to do is sit in silence and wait for…what? The second coming? Judgment day?

Wilder leaves the question unanswered, and ends his play.

EMILY:
I never realized before how troubled and how…how in the dark live persons are. …From morning till night, that’s all they are—troubled.

It does no good for you to reason with me that once I’m dead, I won’t even know it. That’s the part that terrifies me most of all — terrifies the living me, right now, which, as far as I’m concerned, is the only me that matters.

EMILY:
Live people don’t understand, do they?

MRS. GIBBS:
No, dear—not very much.

EMILY:
They’re sort of shut up in little boxes, aren’t they? I feel as though I knew them last a thousand years ago…

At some point, long after that first sleepless night at camp, but a long time ago from where I am now, I stopped praying. And I stopped thinking actively and obsessively about death, to the point where I was fairly certain I came across as someone who was not deeply distressed by it all the time.

But sometimes at night, before I fall asleep, or on planes, or when I’m especially worried about something, I find myself still going through the motions: hands together, fingers interlaced, the voice of my mind preparing to beseech someone: Dear someone, please this, please that — please, please, please…

SIMON STINSON:
Yes, now you know. Now you know! That’s what it was to be alive. To move about in a cloud of ignorance; to go up and down trampling on the feelings of those about you. To spend and waste time as though you had a million years. To be always at the mercy of one self-centered passion, or another. Now you know—that’s the happy existence you wanted to go back to. Ignorance and blindness.

After the play, when I come home to Brooklyn from home in Massachusetts, I log back online to find the president making wild and thoughtless threats to every country with the power to bite back, and I can’t log off.

I try to parse how dire people think the situation is. On Twitter, gallows humor has been supplanted by nuclear humor, and it’s tough to discern whether beneath the wit there is real worry, or just increasing boredom with the escalating antics.

I leave my computer and crawl into bed with my boyfriend.

You find enough people and things to love while you’re living, so that no matter what you lose, you’re never quite alone.

“How serious is this, really?” I ask. “I don’t know what to do when people are joking about it. Like, when are we packing our bags to go spend the end times with our loved ones?

In response, on his iPad he pulls up maps, articles, irrefutable information that helps quell my alarm. This is something he’s very good at: countering my wild, flailing fear with facts and critical analysis. As I lie in the crook of his shoulder, I realize that in every prior instance in my life where I’ve sought reassurance about the life and/or death of myself and/or my loved ones and/or the world, I’ve sought it from my parents.

It’s strange, for the source of my existential comfort to have shifted so quietly, almost overnight. It’s a testament to the fact that I trust my partner, but more saliently, that I have found a new anchor on this earth, to love me and keep me, whom I’ll have even when I — when we both — lose the other people we love.. Maybe that’s the point: you find enough people and things to love while you’re living, so that no matter what you lose, you’re never quite alone.

MR. WEBB:
I’m giving away my daughter, George. Do you think you can take care of her?

GEORGE:
Mr. Webb, I want to…I want to try, Emily, I’m going to do my best. I love you, Emily. I need you.

EMILY:
Well, if you love me, help me. All I want is someone to love me.

GEORGE:
I will, Emily. Emily, I’ll try.

I don’t remember exactly when I stopped being so afraid of death, but I do remember when I started sleeping through the night again after that night at summer camp. That fall, we adopted a beagle who — though she grew up to be the world’s best dog (this has been fact-checked) — shaved a number of years off our lives the first two years of hers. If she wasn’t in the room with us howling herself hoarse, she was guaranteed to be in another room destroying something expensive.

One afternoon my mother was sitting in the kitchen at the island countertop when I wandered in, almost idly at this point, to pester her with more big questions. I settled that day on some variant of, “But how do you know there’s anything after we die?”

“I don’t!” she said, and for the first time, her exasperation came through loud and clear. I blinked.

“I don’t know,” she said, “and I’ll never know, and no one else will ever know, until we die, and maybe not even then. And until then, there’s nothing we can do about it. But what I do know is that somewhere in this house, Phoebe is chewing up another one of my shoes. And that I can do something about.”

I couldn’t help it. I laughed. And for the first time in months, it occurred to me that maybe that was exactly the thing about knowing you’re going to die: in the meantime, you might as well live. If absolutely nothing else, it’s a wonderful distraction.

EMILY:
Good-by, Good-by, world. Good-by, Grover’s Corners…Mama and Papa. Good-by to clocks ticking…and Mama’s sunflowers. And food and coffee. And new-ironed dresses and hot baths…and sleeping and waking up. Oh, earth, you’re too wonderful for anybody to realize you.

At the end of the play, in the graveyard, when my friend and I went to congratulate my dad, I was surprised to find my eyes filling. I bent to fiddle with my folding chair, emotional and embarrassed. My mother dove for tissues, and, as she always does, found some.

My dad put a hand to my shoulder. “I find myself focusing on a different line every time we run through the show and getting emotional about something new,” he said. “This time, I started tearing up thinking about how, when I die, I’m really going to miss coffee.”

EMILY:
I can’t bear it. They’re so young and beautiful. Why did they ever have to get old? …I love you all, everything.—I can’t look at everything hard enough.

My mom doesn’t take milk in her coffee now. She claims that she never did — that I must have been confused in insisting that we always brought her coffee with a splash of milk on Christmas morning.

It doesn’t really matter. As long as I can keep making her coffee and waking her up, I’ll do anything.

I meet a friend for coffee the week after the play, following our president’s brazen threats. For some reason, throughout the course of our conversation, I mention my parents’ age, and the fact that they’re aging, several times. I call it out self-consciously, tentatively.

“Yeah, you have mentioned that a few times,” says my friend. “Why do you think that is?”

“Probably just my crippling fear of my loved ones being hurt or dying,” I say, and even as I say it, and the darkness that that fear carries washes over me, I feel a sense of relief: relief that I’m not just afraid of dying myself, but am as afraid — if not more so — of other people dying, because what’s a world if you live in it alone?

I don’t want any of us to stop feeling these things. I love these things and I hope that everyone else loves them enough to want to fight to keep them.

Maybe it’s still selfish, the fear of having to live on earth without the people I love. But just as much, I feel for the people who, along with me, will be ripped from their places on this earth, from their warm beds and their cups of coffee in the morning, from their sunny streets and their snowy ones. I don’t want anyone to have to lose, any earlier than they must, their ability to learn to speak another language or swim, the chance to taste new foods and old favorites, the simple blessing of scrolling Twitter and finding, in a time of fear, jokes that make them laugh and feel a little bit less alone.

I don’t want anyone to have to stop showing the people they love their love, however they so choose: through small compromises or through lifelong commitment; through shared food or shared homes; through a rambling email or through the click and flush of a red heart on a dumb website. I don’t want any of us to stop feeling these things. I love these things and I hope that everyone else loves them enough to want to fight to keep them.

STAGE MANAGER:
There are the stars—doing their old, old crisscross journeys in the sky. Scholars haven’t settled the matter yet, but they seem to think there are no living beings up there. Just chalk…or fire. Only this one is straining away, straining away all the time to make something of itself. The strain’s so bad that every sixteen hours everybody lies down and gets a rest.

I drink coffee despite the fact that it doesn’t seem to work for me the way it should. I can take a nap fifteen minutes or two hours post-coffee and sleep like the dead. I drink it anyway. It’s the smell of it, and the feel of enclosing a warm mug with my hands, as though it’s something I hold incredibly dear. And I do. I love it. It’s possibly the simplest, least fraught part of life that I love. Fuck God; I want to make of every little shred of deteriorating, un-sacred life a ritual, a rite. And I want it to last forever. I want to scroll my Twitter feed forever and I want a never-ending cup of coffee in my hands.

Now, that, I could pray to.

EMILY:

Do any human beings ever realize life while they live it?—every, every minute?

Guy Gunaratne Recommends Five Books by Non-Male Authors

A lot of people write about London, but nobody writes about London the way Guy Gunaratne writes about London. His book In Our Mad and Furious City, longlisted for the 2018 Man Booker Prize, is an energetic and affecting portrayal of young immigrant London, right down to the grime music and the slang. Most of his main characters are men, but like any truly well-rounded author, Gunaratne both writes and reads women—and he reads women across genres. His five recommendations include not only novels but poetry, memoir, and plays.

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

Hotel World by Ali Smith

The first line reads: “Woooooooo-hooooooo what a fall what a soar what a plummet what a dash into dark into light.” And that’s what it’s like to read this great rush of a novel. Rarely have I ever fallen in love with a book so deeply. The thing was singing to me, it was dancing around. Ali Smith is a marvel to me, honest to God. I’d like everyone, everywhere to read everything she has ever written. Not only because you’d be reading one of the planet’s consistently brilliant writers — but because you’d also have ball with every book. Start with Hotel World, then read her first novel Like, and then work your way chronologically. Or start wherever. Up to you.

Wide Open by Nicola Barker

I can see here, now I’ve picked my copy off the shelf, that there is a scene in this novel about a birth of a boar, which I seem to have underlined and made notes about. That passage (and if you’ve read it, you’ll know the one I mean) has stayed with me long after reading. The book creeps under your skin, into your nerves. I shiver just holding it — a feeling close to awe. A lot of the books I tend to love are impossible to describe. I could try with this one, but I really don’t think I should. What could I say: it’s about some odd people on the Isle of Sheppey? Imagine. Anyway, read it. It’s phenomenal.

God Resigns At the Summit Meeting by Nawal El Saadawi

This one is a play. It’s about a meeting on a mountain where the prophets and the great women of history come to request God’s help. Jesus, Muhammad, Moses and Satan all makes an appearance, as do Bill Clinton and Benjamin Netanyahu. My favorite character has got to be Bint Allah, the daughter of God, an eighteen year old who is said to resemble Eve except that her hair is very short and she wears a pair of dancing shoes. “Her dress is cut above the knee.” This is a play about democracy, and the participation of women in the history of dissident acts. Essential, beyond question.

The Argonauts by Maggie Nelson

Maggie Nelson writes like nobody else. The meditative attention she pays to her subject matter, in everything I’ve read from her, has left me for long periods of spaced out days convinced I’m changed forever. And it lasts, that feeling. Few writers possess the power to reconfigure how you see the world. She changes how you see and hear it. Makes you re-think the language you use to understand yourself. The Art of Cruelty is the other I’d recommend from her.

Brand New Ancients by Kate Tempest

Kate Tempest is among an array of British poets that I’m particularly excited about. A blistering, kick-you-in-the-face, book. It’s very thin, and once it’s over it’s like a little anarchist has run into your head and has stuck up squatters rights. Years from now, this poem — and this poet — will be spoken about as having influenced a generation. For me, reading Brand New Ancients, at a time when my first novel had only just begun teething, it gave me all the permission I needed to push on.

The World’s on Fire. Can We Still Talk About Books?

This July, I hit a low. A how-do-we-keep-fighting-one-more-day low, a scream-silently-into-the-mirror low, a twilight-of-democracy low. Not my first, not my last. I tried to distract myself by retreating to the bubble of literary Twitter, where I started a thread listing some of my favorite overlooked fiction. Others added, until the list was heartbreakingly long. (All these masterpieces, neglected!) Soon, though, someone jumped in with a bit of scolding: “We’re 100 days out from an election,” she wrote. “That’s what we should all be thinking about.”

My self-righteous response was easy like-bait: “I refuse to live in a world where an oppressive regime prevents us from advocating for art,” I wrote, and added some feel-good words about fighting despotism through empathy. Soon, the woman apologized — a writer herself, she’d been despondent lately, she said — and I hold no ill will toward her. She might just as easily, as many have done before her and many continue to do, ask how one could post about books on a day when there’d been a mass shooting, a day when babies were in cages, a day when toddlers were gassed, a day when… well, any other day, really. Her question wasn’t new to me, in part because it’s something I ask myself on a daily basis. Is it really okay to talk about art right now? To leave the real and broken world behind and talk about fictional ones?

Is it really okay to talk about art right now? To leave the real and broken world behind and talk about fictional ones?

It’s a crisis many of us face not only when we promote our work, or someone else’s, but when we sit down to make that work itself. Anyone engaged in thoughtful reading and writing is also engaged in, and likely consumed by, national politics right now. No one I know is unaware that this is a particularly weird time to make art, rather than to spend every moment calling your senators.

But art has always had to exist alongside history. The notion that this, in particular, is suddenly the moment to drop all else feels like the epitome of too-late straight white awakening. There has never been a moment in which it was the most direct course of action for Americans of color to write or paint or make movies instead of protesting. There has never been a time when it was politically expeditious for LGBTQ+ artists to put down their banners and pick up their pens. And yet you’d be hard pressed to argue that James Baldwin’s talents would have been better used registering 20 more people to vote than writing The Fire Next Time.

The idea that art is born of leisure, during times of peace, is a simplistic romance, a non-artist’s daydream. (Wouldn’t it be nice to just be creative all day? In a cabin? With the tea and whatnot?) Someone recently asked if I need to be in a meditative state in order to write. Jesus, no. I write best angry. Don’t you? I write best desperate, I write best heartbroken, I write best with my pulse throbbing in my neck. Even in the best times, many of us read and write to confront the world and its failings, not to escape the same.

You’d be hard pressed to argue that James Baldwin’s talents would have been better used registering 20 more people to vote.

Listen: Ngūgiī Wa Thiong’o wrote an entire novel on toilet paper in his prison cell. Before her death at Auschwitz, Irene Nemerov wrote Suite Française in microscopic handwriting in a single notebook. Anna Akhmatova’s apartment was bugged and her books pulped, but she’d write her poems out for visitors on small slips of paper, wait till they’d memorized them, then burn the papers in the stove. And no, it’s not always political art we fight for. H. A. and Margaret Rey fled Paris in 1940 on bicycles they’d made themselves, carrying with them the manuscript of Curious George.

My new novel, which I’ve been out on the road promoting (yes, instead of canvassing, instead of marching) since the midpoint of this surreal year, largely chronicles the AIDS epidemic in 1980s Chicago. One of the lessons hammered in by my research was how both art and humor sustained a group weary from a lifetime of fighting, and the fight of a lifetime. And, more — how effective that art and that humor were, as both shields and weapons of attack. These people fought a plague and an indifferent government with wit (“Your gloves don’t match your shoes,” they chanted at the police who donned latex to assault them, “you’ll see it on the news!”); with creativity (they wrapped Jess Helms’s house in a giant condom); with theater and poetry and performance art and painting and music.

Of course, it’s one thing to believe in Angels in America, to believe in Picasso’s Guernica, and another to believe in your own sloppy first draft, or in a picture book about a monkey. One thing to fight for the first amendment, and another to retweet an invite for your friend’s poetry reading. It’s hard to feel you’re helping the world by announcing your Pushcart nomination.

But the exercise of freedom is a de facto defense of that same freedom. Freely making art, and freely talking about the art you made, is valuable in and of itself when free expression is being eroded. If anyone’s still taking that freedom for granted, it’s time to wake up and smell the history.

Write while you can. Paint while you can. Spread your art through the world. Not everyone is so lucky. Publish books and read books and teach books while you can. Take the art you love and blast it from your trumpet. Shout into the wind the names of the things you love.

Art is a radical act. Joy is a radical act.

This is how we keep fighting. This is how we survive.

The Boy Whose Arm Had Been Bitten Off

“Gulf Shores”

by Jordan Jacks

I was sleepwalking down in the parking lot when I met the boy whose arm had been bitten off. This was in June of 1995, at a condo complex in Gulf Shores, Alabama. I was dreaming about the beach, about walking around on it, trying to sell umbrellas for twenty dollars a pop. They were on my back like a quiver of arrows.

Oh, the nights of my life. I have suffered through them. I take drugs for it now, I try not to drink too much. But back then my parents had to lock me in my room, jam a chair against the door.

The boy whose arm had been bitten off jumped out of a Ford Ranger that didn’t have any paint on the body. It had only one headlight. Even as he was coming towards me the truck continued to roll, edging up like a cat. There were two people inside, a man and woman in darkness.

“The fuck,” the boy whose arm had been bitten off said. “Are you crazy?”

“I don’t know,” I said.

Lagoon Run was a wooden place across the street from the beach, a few miles west of The Hangout and the Pink Pony Pub and all the nicer, newer hotels. Like all the buildings that far down the strip, it was weather-beaten and gray, elevated on splintery stilts. It looked like a dirty pelican crouching over a bunch of broken shells.

We went there once a year. My mother was from Foley. We came from Houston in our station wagon to visit her brother and her mother. But that year her mother was dead, and Uncle Kenneth was only free on weekdays. On weekends, he had to be in jail.

Uncle Kenneth was a fisherman. The Proud Maria, his boat, didn’t belong to him. It belonged to a guy on a ventilator in Orange Beach named Darius. Uncle Kenneth drove lawyers from Mobile around in it until they’d had their fill of mullet and redfish and then he parked it back at the marina. On Thursday night he’d hitch out to the condo with a Styrofoam cooler of Coors and a trash bag full of shrimp. My mother would boil the shrimp inside while my father commandeered one of the grills out by the lagoon. Uncle Kenneth and I would pull up other people’s crab traps on the pier, taking whatever we found. After a couple of beers Uncle Kenneth was friendly and childlike. He barked at passing dogs and howled in the general direction of the moon. He told dirty jokes and slept on the pull-out sofa.

On Fridays we’d drive back up to Foley, my father behind the wheel, my mother in the front, Uncle Kenneth and me in the backward seat. Uncle Kenneth drank whatever beers were left in his cooler, crinkling the cans and putting them back in the shrimpy water. At the second red light in Foley he’d tip his trucker hat to my mother and pop the hatch, jump out in one motion. We’d turn right and he’d turn left, a short guy in denim cutoffs and white sneakers, his skin the same color as the red clay peeking through the grass. Sometimes the hatch was still open when we started to move.

When I asked my mother where he was going she always said he was going to Pizza Hut. I didn’t find out about weekend jail until years later. It was for the relatively minor offenses of working people: petty theft, public drunkenness. You checked in on Friday and you checked out on Sunday. You could even bring a change of clothes.

Kenneth had been busted that summer for breaking into his ex-girlfriend’s trailer in Orange Beach, making off with all the pictures of the two of them together, all the condoms he’d left there, and a baggy full of pills that he said belonged to him. Someone told me at his funeral.

But I was talking about the boy whose arm had been bitten off. I almost didn’t recognize him the next day at the pool. Things looked different in the light. I’d woken up tired, thinking I’d dreamed everything, that I’d never left my bed. But there was tar on the soles of my feet and a cut on my big toe where a shard of glass had sliced into me. And there was the boy, sitting on the end of the diving board, his chin in his palm, staring down at the greenish water.

His arm was something you noticed right away. From the elbow down, it was a different color than the rest of his body, darker and grayer, like wet sand after a wave. It seemed heavier than the rest of him. It hung from his shoulder like he didn’t quite have control over it. There was a ragged scar going all the way around his bicep, just above the elbow. It looked like the barbed wire tattoos that were so popular then, around the muscled arms of older boys at the beach.

“You awake?” he said, before I’d even closed the swinging gate to the pool.

I nodded and he scratched his leg. “Alright,” he said. “Let’s go.”

He said it like we’d agreed to it the night before. Maybe we had. I didn’t ask questions. When I followed him out to the road, I thought we were headed for the beach. But we turned left and started walking east, towards town. Neither of us was wearing shoes, and the pavement was hot, so we kept to the parts of the shoulder that were covered in sand. We didn’t talk at first. I felt a kind of pride being with him. I was a lonely child, prone to friendlessness. The boy whose arm had been bitten off had long legs with hair on them. I was always a few steps behind, but I was still close enough to examine the weird, bruised-fruit color of his arm. When he caught me looking he sighed and said, “You want to know what happened?”

I nodded.

“A shark bit me,” he said, squinting into the sun. “Two years ago. I was swimming — ” he pointed in a general way to the ocean, across the road and beyond the dunes. “And then it felt like… BAM! Like something ran into me, and I tried to start running but I was stuck. And then I woke up and it was like this.”

He stopped and held his arm up almost level, right near my face. He smelled like cumin and sunscreen. He told me that his father had seen the attack from shore and had run in to save him. He’d tied a tourniquet, called an ambulance, and then ran back into the water to find his son’s arm. He’d found the shark instead, an elbow in its mouth.

What did he do then, I asked. We were walking over the pass, a twenty-foot wide channel where the lagoon emptied out into the ocean. Fish were fifteen feet below us.

The boy whose arm had been bitten off shrugged. “He punched it in the fucking face,” he said.

Sounds implausible, doesn’t it? But it was and is true. I asked my parents. Uncle Kenneth had sent my mother a clipping in the paper about it. “They sewed his arm right back on,” she told me, swirling the ice around in her glass. “In Mobile. A miracle.”

The boy whose arm had been bitten off didn’t seem to think so, though. He had some sense. I think he knew that if he acted like the whole thing was unimpressive, it would make him mighty. His father, too. He’d gone back in the water, then brought his son back to the same beach two years later. And now the boy was with me, shoplifting hermit crabs and keychains from Souvenir City, a stucco tower where, going in and coming out, you had to walk through doors made to look like a shark’s open mouth.

For obvious reasons the boy whose arm had been bitten off did not much care for the ocean. We stuck to other water. We’d loiter at the pool, take any kayak that wasn’t tied down. The water out in the lagoon was silty and warm, and if you went out far enough sometimes you’d see fish jumping. One time we went all the way out to the pass, saw the confused mackerel hopping from the waves as they were pushed out to sea. I wanted to follow them, but the boy whose arm had been bitten off turned his boat around.

It didn’t feel like fear. It felt like experience. In the pool, the boy whose arm had been bitten off could do the breaststroke from one side to the other without once coming up for air.

His father was big, an ex-marine, sunburned and gone a little fat. His mother was pretty, with black hair that went down to her waist and a slot between her two front teeth wide enough to stick a nickel through. We never saw them. The boy whose arm had been bitten off said his parents mostly came down to the Gulf to sit in the air conditioning. They didn’t seem to really care where he was as long as he took the empty bottles out to the dumpster. They locked the door behind him every morning. It was like his father had used up all his parental worrying on the shark and now was taking a vacation from his son. I don’t know about his mother. They had problems.

The boy whose arm had been bitten off started eating with us, peanut butter and jellies at the Formica table in front of the television, hot dogs on the grills at night. I think my parents were relieved that I had a friend. I had no cousins my age and I was shy. The boy whose arm had been bitten off was a year older than me, the quarterback of his seventh-grade football team, a solid B-student. Stick-thin-girls in ambitious two-pieces chattered around him like gulls. I, too, was too easy to impress. But who cared? I slept better. There were fewer nights when I woke up in the wrong room of the condo, or outside in a deck chair, or walking up and down the same stretch of hallway. I had mostly pleasant dreams. In one of them, the boy whose arm had been bitten off pointed at his scar and told me to kiss it. I did.

One day after lunch we walked on the road as far east as you could go, past the souvenir cities and the Pink Pony Pub and the high-rise condo complexes with names like ‘Waves II’ and ‘Pelican’s Secret,’ all the way to where the national seashore started and the navy had a base. From the road you could see a pine pole obstacle course and the occasional helicopter skimming low over the dunes. The boy whose arm had been bitten off pointed to the shirtless cadets climbing up the obstacle course wall and said that it was his dream to do the same. He told me he and his father did a hundred push-ups and two hundred sit-ups every night while watching the Howard Stern show. He told me he’d gotten a blowjob in his backyard from a girl in his social studies class the month before, and that she was waiting for him to come back to Dallas so that she could do it again. Watching the cadets, he rubbed the front of his boardshorts, and when he saw me watching him he said, “What the fuck are you at looking at?”

Uncle Kenneth came out for my mother’s birthday. Nothing special: a couple of redfish on the grill, crabs in a pot, Uncle Kenneth fresh out of the Madison County Jail. He brought his new girlfriend with him, still in her Piggly Wiggly uniform, with a nametag that said Lynette. “Nice woman,” said my father, sounding surprised, when she went inside to change. But Kenneth had a good sense of humor. He just laughed and lit up another Winston.

The boy whose arm had been bitten off had been told to invite his parents, but they waited until dark to make their entrance. At 8:30, just after sunset, they descended the stairs, a box of white zinfandel under the father’s arm, a bag of Tostito’s under the mother’s. The boy whose arm had been bitten off wasn’t with them. I could barely see their faces, but later my mother would say that the mother had a black eye under her bangs.

Kenneth introduced himself and handed both of them beers. The father put the box of wine in the center of the picnic table, like a bouquet of flowers.

“I guess our boys have been hanging out,” my father said.

The father of the boy whose arm had been bitten off didn’t really say anything. He stared at the fish Kenneth had just finished filleting, which was awaiting salt and lemon on a sheet of tin foil. Kenneth was still trying to get the charcoal hot.

“Who gutted that fish?”

Kenneth looked up, the bottle of lighter fluid in hand. “Caught today,” he said.

The father of the boy whose arm had been bitten off nodded but looked at the fish suspiciously. “Like to see the man who caught the fish gut it.”

“Jimmy doesn’t trust nothing out of the sea,” the mother of the boy whose arm had been bitten off said, laughing. She’d already drunk half her High Life.

“Who the hell asked you?” her husband said, fixing her with a look I could imagine him giving the ocean, when he charged back into it for his son’s arm.

“You just excuse him,” the mother of the boy whose arm had been bitten off said to my mother after a few seconds. Her voice was quieter, politer. “He doesn’t know how to act.”

That’s when I left, walking down to the end of the pier like I needed to check on the crab traps. I had the feeling that something bad was going to happen, that two areas of my life that had been separate were going to mix in a way not altogether friendly to me. All the traps were empty, even the bait gone. I lay on the slats of the pier, looking over the edge and into the water. I could hear the mosquito hum of a speedboat, and somewhere down the shoreline a stereo playing country music. I didn’t know why I was scared to look back to the shore, but I was. For about ten minutes I lay there thinking about nothing much in particular. But when I got up and turned around there was nothing to see. Just my mother and father, and Kenneth and Lynette, laughing and drinking from the box of wine, which they poured straight into their empty beer bottles. The boy’s parents were gone, and the grill was finally hot.

“That was the man that punched out the shark,” I informed Kenneth when I got there.

“Miserable dude,” he said.

That night we got locked out of the condo, and my parents were drunk enough to let Kenneth break into the place for them. He used a paper clip and then a straightened-out fishing hook, thin as a girl’s earring, and he showed me how to move it in the lock — first up, then to the right twice, and down in a sweeping clockwise motion that sometimes took a minute to catch. That satisfying click was what he liked. When he got it he stood up and laughed. Then he went inside, locked the door again, and made me try.

When I opened the door and walked in he and Lynette were there to welcome me. They clapped their hands. It was like I had walked into a different family.

The boy whose arm had been bitten off found a tall girl with braces who spelled her name with a K: Kortni. It was the first thing she said to you, and about the last thing she said to me. He told me that she had perfect B-cups, which he’d felt through her swimsuit under a beach umbrella while her family was just yards away, in the beach house they were renting. I half-believed him. I completely believed that whenever he wasn’t with me, he was with her, getting his braces caught in hers. I think that’s what made me do what I did.

I straightened out a fishing hook and a couple of paper clips and one day, as we were walking down the beach, eating snow cones that we’d paid for with a five-dollar bill he’d stolen from his mother’s purse, I told the boy whose arm had been bitten off that I’d learned how to pick locks. He didn’t look at me, just squinted out at the ocean. But I could tell he was interested. “Prove it,” he said, and then he pointed to Kortni’s beach house, a powder blue two-story set back about fifty yards from the beach.

I hesitated, and then he punched my shoulder. “You scared or what?”

I shook my head. I’d expected this, it was what I wanted. I wanted to become a sacrifice, crouching in the doorstep of Kortni’s beach house when her mother came out and caught me, the boy whose arm had been bitten off back in the dunes.

That’s not what happened, though. He did hide, and I did go up alone. But no one came out. I bent over the lock with my tools — up, then to the right twice, and clockwise down — and felt for the click. Once I knew the door would open, I paused for a moment. I could feel him waiting, watching me. I wanted that feeling to last.

When I finally opened the door and stepped inside, the boy whose arm had been bitten off was right behind me. No one was home. We crept through the beautifully appointed rooms.

Later that afternoon the boy whose arm had been bitten off had the bottoms of Kortni’s swimsuit and I had a new Walkman, an older brother’s Kill Em All inside. We repaired to the pier and with great ceremony the boy whose arm had been bitten off turned the bikini bottoms inside out and pressed them to his nose. “Yes,” he said, “oh yes.” I did the same but they just smelled like detergent to me. I didn’t like the tape, either.

We broke into three more condos that afternoon. Two of them were empty. The first one hadn’t had anyone in it since I could remember. The inside was dusty, decorated like all the others — cheap ocean-related crap on the walls, glass bowls full of sand dollars everywhere. The sheets were turned down like they were expecting somebody.

The second condo was where the two old queers had stayed. That’s what the boy whose arm had been bitten off called them, anyway, meaning the two old men we’d seen sometimes at the pool, their bellies expanding smooth and tan from opened shirts. One of them had helped me bait a hook, my first day on the pier, when I was having trouble.

This apartment was decorated like the other one, but there were homey touches that showed that it was usually occupied by its owners. Pictures of the two men were framed and arranged on a glass table in the living room. There was a record player in the bedroom and, deep in a bedside table drawer, a cigar box filled with neatly-rolled joints. The boy whose arm had been bitten off pocketed these, and on second thought took the box, too. I took a pair of green-glass Ray-Bans that were folded on the dresser.

We lit the joint with some kitchen matches and wandered around the condo like we owned it. I had the odd feeling that I’d been there before, and once I took the first hit off the joint it only got worse. I’d never smoked anything and it made me cough. The room felt hot and close, and my toes seemed rooted in the thick carpet, green as seaweed beneath my feet. I felt like I was sleepwalking as I followed the boy whose arm had been bitten off back to the bedroom, where he un-velcroed his swimsuit and, primly turning so I couldn’t see anything, pissed on the bed.

I looked up the boy whose arm had been bitten off last year, on a whim when I couldn’t sleep. He isn’t on Facebook. The first stories to come up on Google were the old ones: Boy loses arm to shark, Father gets it back; Surgeons re-attach arm to sharkbit boy.” Etcetera, etcetera, etcetera, then nothing. Death records for people with his first or last name, but never both. A chain of car dealerships in Topeka.

I wonder what it’s like to survive your defining event at age 10, and never have the world know anything else about you. To get hurt and for everybody to know it, and for that to be all they know.

The third condo we broke into was Room 213, where the boy whose arm had been bitten off was staying. It wasn’t my idea. After we locked the door to the old mens’ apartment, he just led me there. He didn’t even say anything beforehand. We floated there on feet that were inches above the ground. I felt nauseous, nervous. I’d felt that way all afternoon.

When we got to the door the boy whose arm had been bitten off dropped to his knees and asked for the paper clip and hook. I handed them over, and he gave me his loot — the bikini bottoms, the cigar box. It took him a few tries. But within a minute or so he’d gotten the hang of it, and the lock clicked. He took his hand off the doorknob and looked up at me. He told me to open it. It was like he wanted to show me something.

Twenty years later, I went to a peepshow in New Orleans. The second my quarters went in the slot I saw it all again: the dark room, his mother naked and bent over the stove, her face inches from the red-hot coil. His father naked too, behind her. Everything moving too slowly, then way too fast.

I’d already closed the door when his father started yelling. The boy whose arm had been bitten off was halfway down the stairs. I ran after him, dropping everything behind me — the Walkman, the bikini bottoms, the cigar box. I didn’t look back until I was about a quarter mile away, following as he sprinted down the shoulder of the road towards town. He didn’t stop until he’d reached the pass.

When I caught up to him, the boy whose arm had been bitten off was standing at the guard rail, looking down at the water. The tide was going out, the channel flowing into the ocean. A kayaker was making his leisurely way out from the lagoon, and dozens of skates, spotted like leopards, were swimming against the current, eating whatever came down to them. There was a fisherman on the rocks, casting into the water with a Mickey Mouse reel. He yelled up to us. “Y’all gonna jump, or what?”

I’d done it once, egged on by Uncle Kenneth. I shook my head, out of breath and looking behind me. No one was coming, but the boy whose arm had been bitten off climbed over the railing anyway, his bare feet finding the concrete lip on the other side. It was technically illegal, but it was only about a ten-foot drop. Kids did it all the time.

How Online Confessional Columns Are Reinventing the Diary Book

As a pre-teen, I devoured books written in diary format. From the Royal Diaries series, which featured juicy details from the lives of famous nobles like Cleopatra and Marie Antoinette, to the wildly age-inappropriate Bridget Jones’s Diary, as long as each chapter started with “dear diary” and dangled the promise of outrageous oversharing, I was in.

Today, I’m a 20-something living in Brooklyn, and I’ve moved on to what I now view as the holy grail of first-person narrative: online diary columns. A sampling of my favorites include The Grub Street Diet, which gives readers a glimpse into the daily routines of gustatory greats; The Cut’s anonymous Sex Diaries, showcasing the sexually ravenous and the sexually chaste; Refinery29’s Money Diaries, which explores how people spend their hard-earned dollars; and The New York Times’ Sunday Routine, chronicling how “newsworthy New Yorkers” try — or, more often, fail — to unwind on the weekends. As a former anthropology major, I justify my habit as voyeurism lite, porn for those of us who wish we were Harriet the Spy, a non-creepy way for generally rule-following humans to satisfy our nosiness. I’ll see your Rear Window and raise you a Sex Diary.

The conceit of many diary-style books, including the Royal Diaries series, is that the authors use their journals as a much-needed respite from their examined lives. As Princess Victoria writes in Victoria: May Blossom of Britannia, England, 1829 by Anna Kirwan, “The reason I hide this ledger is that I do not wish anyone to know that it exists. Really, I must have a place to pour out my curious thoughts privately and sort through them. I never get to be truly alone.” Back when these books were published, in the late ’90s through early aughts, we thought that having access to someone was knowing them. Today, we have the exact opposite problem: despite our unlimited sharing via social media, we aren’t able to obtain an “authentic” glimpse into anyone’s life because we live too self-consciously for it to exist.

Back when these books were published, we thought that having access to someone was knowing them. Today, we have the exact opposite problem.

There is nowhere this is more apparent than in the land of online diaries: the diarists know their accounts are being read. The question is not what they do when nobody is watching but what they choose to do when they are aware that everyone is watching. In his Grub Street Diet, comedian John Early makes no secret of the fact that his dining habits are influenced by the assignment itself. He chronicles the low-grade hysteria he feels on his first day: “My daily cold-brew-induced panic begins, and I find myself immediately paralyzed by the performative nature of the whole endeavor. Will I accurately represent myself as the passionate eater that I know myself to be? Will I bring attention to the restaurants and small businesses that truly need it? Is it braggy to talk about my boyfriend? It feels so transparent to include him (‘I, too, am loved!’), but dishonest to leave him out!”

If the idea of the pre-internet diaries was to transmit a snapshot of a famous person’s actions, the internet diaries offer an outline of a famous person’s neuroses; readers witness them fret over everything from the quality of their writing to the quantity of food they consume. Alan Yang, co-creator of Master of None, prefaces his Grub Street Diet with this disclaimer: “What you’re about to read is a description of one of the craziest series of meals I’ve ever had…I love to eat good food, but this is not normal.” For his first feast, Yang orders: “three cheeses and blood-orange marmalade; salumi misti; a green salad with anchovies; roasted beets with whipped ricotta; burrata; white-bean soup; seared octopus with ramps; tonnarelli cacio e pepe; bucatini all’amatriciana; fettuccine alla carbonara; pappardelle alla Bolognese; malfatti with braised suckling pig; cavatelli with pork sausage; chitarra with charred ramps; chicken cutlet; poached trout; roasted carrots; and charred asparagus.” As can be seen by both Early and Yang’s anxious preambles, there is something incredibly meta about the whole ordeal: a week lived a certain way because the author is using it to market himself, curating a facade that he knows will leave an impact on his reputation and career as soon as the following day.

Bridget Jones in the Age of Twitter

While it’s easy to think that perhaps the diarists are overly self-conscious, all one has to do is scroll to the bottom of each article to witness its immediate impact IRL. Here, the comments sections function like the Wild West of yore, except the cowboys are internet trolls and their shootouts are executed with loaded words. The tenor of each showdown varies by site. Readers of The Grub Street Diet tend to be mean, declaring female diarists anorexic and each of their male counterparts more of a pretentious asshole than the last. Chronicling a trip to Los Angeles in his 2016 Grub Street Diet, the late Anthony Bourdain writes: “For dinner, I got a double-double, Animal-style, and a chocolate shake at the drive-through at the In-N-Out Burger on Sunset, and took it back to my hotel. I ate the fuck out of that thing.” Below, sport7 comments, “It’s amazing how fame has made him insufferable,” and EdsRevenge agrees: “Poor Anthony. It must be absolutely exhausting to work so relentlessly at trying to seem cool.” Lvlvlv is less forgiving: “WTF else would you do with your DINNER, Captain obvious…is he contractually obligated to tack on an obscene comment to everything he says?”

If judgmental reactions stem from the feeling that the celebrity in question is trying too hard, it follows that the attitude on sites featuring anonymous diaries is the opposite. On Refinery29’s Money Diaries, pseudonymous millennials compare meditation apps, empathize over grueling spin classes, and generally affirm each other. A commercial analyst in Houston, TX recounts a conversation with her girlfriend, “She tells me she thinks one of her friends is a Trump supporter — I tell her to get new friends.” Below, HOTWINE cheers her on with a: “yasss qween!” Similarly, the unnamed authors of The Cut’s Sex Diaries detail their most salacious sexual acts without fear of blowback. “The Man Planning a Thanksgiving Threesome” describes an extremely active week of his polyamorous sex life and Harveywallbanger voices appreciation: “I love the combo of hard core sex and participation in small business Saturday.” Nearby, dc10001 pipes up with a constructive editorial suggestion: “Lacks detail on the T-day menu. Was there stuffing?” It turns out WASPyJewess is similarly preoccupied: “No way he brined his turkey for 3 days!!! Now I don’t know WHAT to believe!!!”

What drew me to read about the daily practices of Marie Antoinette is the same thing that pushes me to skim an article about an intern sexting with her boss.

The majority of my online diary-reading takes place in the liminal state of post-3 a.m. insomnia, when I let the information wash over me as a sort of anaesthetic. Despite each narrator’s careful curation of the most envy-inducing events of their week, it’s often the mundane details that lodge themselves in my brain; a behavioral health counselor in Anchorage eats Starbucks’ eggs sous-vide for breakfast every morning; Neil Blumenthal of Warby Parker fame is “constantly chatting with peers” and does early morning push-ups with his daughter on his back; “The Interior Designer Cheating on Her Husband With an Actor” once masturbated under the table in a Tribeca café. While the lattermost is a morning ritual I don’t plan on adopting, the others intrigue me. Maybe I would be a more balanced person if I started my days with slow-cooked eggs. I can’t found Warby Parker but I do have peers — if I dedicated more time to chatting with them, would I come up with an idea that would lead entrepreneurs worldwide to revere me as an industry disruptor? Perhaps I could convince the toddlers who live in the apartment above mine to sit on my back while I do push-ups.

I make these tendrils of plans idly, telling myself I’ll start tomorrow. But by the time I scroll to the end of the page I’ve already forgotten, their novelty melting away like the wax on Icarus’ wings. Call them routines or addictions; the truth is that if we were so easily swayed from our patterns these diaries wouldn’t exist at all. What originally drew me to read about the daily practices of Marie Antoinette is the same thing that pushes me to skim an article about The Intern Sexting With Her Boss: we all pursue specific pleasures in order to quell our universal human needs. Like any recovering anthropology major, I’m fascinated by how people knowingly expose themselves to the world in order to gain favor. What do their “inner monologues” sound like when they’re aware that cyberspace is listening? How do choose to portray themselves? What will they cop to? Who sits on you while you do your push-ups?

Why Was Norah Lange Forgotten?

First published in 1950, Norah Lange’s People in the Room (Personas en la sala) is an intimate, intricate experimental novel that, despite Lange’s place at the center of the avant-garde literary scene in Buenos Aires at the time, was largely overlooked for more than half a century. Well, maybe not “despite.” As Leonor Silvestri observed when the second volume of her complete works was published in Argentina in 2006, Lange was a striking redhead known first and foremost as a muse and wife, whose “visibility as a character inhibited the legibility of her writing.” This writing, nonetheless, was extensive and profoundly innovative, sometimes pushing the bounds of propriety (as in her 1933 novel 45 Days and 30 Sailors, about a young woman who makes a transatlantic crossing alone on a ship full of men — an apt metaphor for the literary landscape at the time), sometimes adopting themes deemed “suitable” for female writers of her day (namely, anything having to do with the domestic sphere) and adapting them to disrupt those same norms. In his introduction to People in the Room, César Aira describes Lange’s novels as “strange meteorites unlike anything else that was being written at the time.”

Purchase the book

I met Charlotte Whittle almost three years ago when we were introduced by a mutual friend who thought we might have a lot in common — since, you know, we both translate from Spanish. They had no idea how right they were: at the first of our many two-person translation symposia (i.e. book nerdery over beverages), she mentioned that she was pitching a novel by Norah Lange, who was married to Oliverio Girondo, the poet I’d been translating on and off for ten years. That made us literary half-sisters! Or was it sisters-in-law? Cousins? I don’t know, but I do know this: the novel she was talking about is the haunting, enigmatic masterpiece People in the Room, which she brought into English with spellbinding grace and precision.


Heather Cleary: Tell me about People in the Room, and Norah Lange, and how you came to translate the book.

Charlotte Whittle: I first read Norah Lange when I was doing graduate work in Hispanic Studies. I had a friend called Nora Lange who’d just moved into an apartment with some upstairs neighbors from Argentina, who asked her if she was familiar with the work of the Argentine writer, Norah Lange. Nora Lange, an American writer of fiction, was captivated by the idea that there was a writer in the Southern Hemisphere from whom she was separated by only an ‘h.’

So Nora Lange asked me if I knew anything about Norah Lange: that was the first time I’d heard of her. I soon learned that Lange was associated with some key moments in Argentine literary history, that she’d participated in the founding of the influential avant-garde journal Martín Fierro, and that her childhood home was the site of some of the most legendary bohemian intellectual gatherings in 1920’s Buenos Aires. She began her literary life as a poet; her early work was influenced by Borges’s ultraísmo (and her first book was introduced by him), and she went on to write beguiling, poetic memoirs, and some incredibly striking novels. Despite all this, when I asked my academic advisor at the time — a major scholar of Latin American literature — about Lange, his reply was that she’d been “completely forgotten.” Needless to say, that really piqued my interest.

I was mesmerized by Cuadernos de infancia (Notes from Childhood), Lange’s only book to have remained consistently in print since it was first published. I remember thinking at the time, I want to translate this, I want to carry this gorgeous prose into English, but I wasn’t yet on the path to translation. Still, the seed had been planted.

It was on a trip to Buenos Aires that I was able to track down the complete works (which were finally published in 2005–6, but still weren’t very easy to find), and was really seduced by the haunting language and unique authorial gaze of Lange’s later work. The voice of the narrator of People in the Room captivated me, that sense of probing around in the dark, having only a partial view. I began translating it not because I had a particular plan, but out of a need to know how it would sound. I worked on it in my spare time while I was teaching, then proposed it to And Other Stories at the point when I realized I wanted to be a translator.

The voice of the narrator of People in the Room captivated me, that sense of probing around in the dark, having only a partial view.

HC: The novel is enjoying a fantastic reception right now, but it’s taken about 75 years for Lange to get any kind of mainstream attention. Why do you think people were so slow to catch on to her work — not just in English, but in Spanish, as well?

CW: I think the answer to that has several layers. The question of Lange’s reception in Argentina is quite vexing, because it’s not like she was unknown — she came of age surrounded by key figures in the Buenos Aires literary scene, and she did enjoy some recognition among her peers during her lifetime. But one gets a strong sense that she’s now known more as a character in literary mythology, as Girondo’s wife, or as this flame-haired Scandinavian bombshell who supposedly broke Borges’s heart. Even now, her outsized reputation as a figure in literary life tends to overshadow her work. K.M. Sibbald writes that Lange was “a victim of her own legendary literary status,” and I think that captures part of what happened. The reception of her work was often filtered through statements by the men around her, beginning with Borges’s prologue to her first book of poems, and her later books were sometimes described by male critics in extremely gendered language. And, of course, she was overshadowed by the male writers she associated with, simply because of the gender prejudices of the time, which meant that male genius tended to be revered, often to the exclusion of other voices.

Sylvia Molloy suggests that Cuadernos de infancia, Lange’s most widely read book, was successful and enduring not only because of its ground-breaking prose, but because it allowed readers to identify the unconventional Lange with the traditionally feminine subjects of domesticity and childhood. Lange was an eccentric, and some readers weren’t sure where to place her until then — writing about her journey to Norway by boat with 30 sailors, for example, was deemed inappropriate material for a young woman. Perhaps that’s also part of why she felt she needed to “unwrite” Cuadernos with the more opaque, avant-garde memoir Antes que mueran (Before They Die) — to undo the easy classification to which she’d been subjected.

Lange’s circumstances are obviously particular, but the same question could be asked about so many women writers only now appearing in English translation — some of whom, like Lispector, were canonical in their own countries, and others, like Amparo Dávila, whose work is now being reassessed in Mexico ((and whose searingly strange stories have just been published in English by New Directions). To answer it, we’d have to look more broadly at how the canon is formed in these writers’ countries, and in our own. Which works are chosen to be studied in universities, enshrined as classics, and considered “essential”? Which ones are kept in print beyond a first or second run? These are all contributing factors, and gender bias is present in all of them. People like Meytal Radzinski, Margaret Carson, and Alta Price have done a lot to draw attention to the gender imbalance when it comes to who gets translated. I also can’t resist mentioning A.N. Devers’s work with The Second Shelf, which approaches gender imbalance in the literary canon from the angle of collecting. There is so much work to be done, but projects like these, and the positive reception of People in the Room demonstrate that there’s a thirst for work by writers like Lange who might previously have been overlooked.

HC: What would you say to a reader unfamiliar with Lange — and the avant-garde literary scene in Buenos Aires at the time she was writing — who is interested in picking up this book?

CW: One of my favorite images of Lange is from a party celebrating her early novel, 45 días y 30 marineros (45 Days and 30 Sailors). Norah lies horizontally, dressed in a mermaid costume, holding a wine glass the size of a goldfish bowl. She’s surrounded by men dressed as sailors, among them Pablo Neruda and Oliverio Girondo. Norah’s friend García Lorca was also there that day. Norah was an unconventional woman who lived her life in a way that paralleled her work: she was a performer, known for the spirited speeches she gave about her fellow writers. Though she explored the limitations and the possibilities of domestic space, she herself didn’t spend her life hiding in the drawing room. The picture of her surrounded by men may accurately represent her situation as a woman writer, but she knew how to negotiate her objectification as a muse, and while she was working tirelessly on serious literary projects, she was also often having a lot of fun.

HC: Excellent. So, what is People in the Room about?

CW: The scenario is that a seventeen-year-old girl — the novel’s narrator — lives in a well-to-do suburb of Buenos Aires, and spends hours spying on three mysterious women, whom she assumes to be spinsters, and who live in the house opposite her own. One night, she is struck by the arresting image of their three faces arranged in the form of a “pale clover.” Lange said in an interview that the image came to her after she saw the famous portrait of the three pale-faced Brontë sisters by their brother Branwell, who erased himself, but whose ghostly outline can still be seen in the painting.

After several nights of gazing at the women through their window, spying them behind their gauzy curtains, the narrator sees them sending a telegram at the post office, decides to intercept the reply, and delivers it to them as a way of contriving to visit their house. The telegram alerts the women that a man will visit them, a man about whom the reader learns nothing. But the narrator’s plot to enter the house is successful, and she spends many evenings sitting with the women, hearing them utter enigmatic phrases, and imagining the stories they might be hiding. A sighting of a spider, a conversation about a blue dress, and a telephone call in which no one speaks all qualify as major events.

It should be clear from this summary that this is not a novel to be read for plot (Aira writes, somewhat provocatively, that it’s “not a novel to be read for pleasure”), but one to be read for language, atmosphere, and states of being. It’s hallucinatory and death-anxious, and contains shards of the gothic and of the 19th century novel, rearranged into something uncanny and wholly modernist. You could say it’s a book about voyeurism, or about domestic entrapment and female isolation during the early twentieth century, and it is about all of those things, but I think one of its many strengths, what for me makes it so compelling, is that it allows you to slip in between all these readings; each rereading generates new layers of meaning. I’ve also come to see it more and more as a novel about literary creation, with a narrator who replaces reading with voyeurism, and is herself a novelist in search of a story that continually eludes her.

HC: What challenges did the translation present? Is there a particular passage you could cite as an example of how you worked through some of these?

CW: Of course, Spanish can accommodate very long sentences, much more so than English, and often when translating from Spanish the tendency is to shorten them, to make them less unwieldy. I recently heard John Freeman talk about editing a series of young Latin American writers in translation and thinking, wait, why do they all write like Henry James? That may be an exaggeration, but there’s a kernel of truth to it. It’s a characteristic of Spanish. But with Lange, I felt that those long, meandering, and yes, Jamesian sentences were really part of her project, and needed to be preserved. But they had to be preserved in such a way that the reader in English didn’t feel completely untethered and adrift. That’s a risk because there are certain grammatical markers in Spanish — gender and adjective agreement, for example — that can function as signposts in the text and make those long sentences more navigable, and which get lost in English.

Another, related thing that was really interesting about this translation was Lange’s use of punctuation. We could say loosely that the narrator moves between two modes. One of them is controlled and precise, and another is almost unmoored. In this latter mode, Lange uses less punctuation. Take the beginning of Chapter 12, when the narrator hears of the fire. This is the first chapter where we have an inkling that the narrator’s obsession is making her unwell. We see the commas become less frequent as the narrator’s conscience is bombarded with simultaneous details.

It was so important, not just to make the punctuation work as English punctuation, but to listen for how it’s used to create the pauses and breathlessness that contribute to the narrator’s very particular voice. Maybe that was the greatest challenge of all — finding the voice. Balancing the complexity of the language and the intimacy and almost conversational tone, the atmosphere of suspense. The narrator is young, and as I mentioned, I thought of her as a reader and writer. The Brontë portrait was often on my mind, and the fact that Lange seems to be tracing this path between the nineteenth century and what we think of as Modernism. There are certain period markers in the novel — horses and carts, the novelty of the telephone. It’s a period of change, and the voice reflects that moment of transition. Certain choices I made were informed by that connection to the nineteenth-century novel. That’s why, for example, the narrator is so often “vexed” rather than “irritated” or “annoyed” — use of that word peaked in the mid-nineteenth century and often crops up in the Brontës and Jane Austen. At the same time, Lange’s language is innovative and daring, full of unexpected combinations. I wanted to resist the temptation to to tame it, and let her striking modernity come through in full relief.

Lange’s language is innovative and daring, full of unexpected combinations.

HC: Translation is a unique form of creative work, but it also draws on a wide range of skills. What is the most surprising job or activity from your past that has influenced your approach to translation?

CW: Once upon a time, when I was about 14, I spent a summer taking apart a nineteenth century log-cabin in Southern Idaho: strip off the siding, tear out the nails, develop a complex labeling system to mark each join in the logs, deconstruct, load onto a truck so the logs could be transported 500 miles, and the house rebuilt in a different setting. If we understand each novel as a house with its own particular architecture, that process of getting inside the log cabin’s structure, understanding how it was put together, then taking it apart, carrying it a great distance, and reassembling it in a different place, maybe with different tools, but with respect for the intentions of those who built the original, seems like an apt metaphor for what we do as translators. It’s translation made physical. I often feel like I was translating before I knew it.

HC: And what are you working on now?

CW: I’m working on Jorge Comensal’s The Mutations, a tragicomic novel about cancer and silence. There are some wonderful characters — a macho lawyer deprived of the power of speech, an oncologist obsessed with Bach, a psychoanalyst with a sideline in medical marijuana, a germaphobe, and a foul-mouthed parrot. In some ways it’s like Ivan Illich transplanted to 21st century Mexico City (with a hint of Flaubert, too — cue parrot), but it’s very much its own creature — witty and erudite, with an extraordinary balance of emotional wisdom and irony. It’s been a joy to work with a living author, someone with whom I can discuss the voices of the novel, the subtleties of Mexican slang. Is the parrot squawking “motherfucker,” or is it more of a “son of a bitch”? I haven’t decided yet, but right now my notes are very colorful.

I’ll also be working on more Norah Lange in the coming year, so watch this space.


About the Translator

Charlotte Whittle’s translation of Norah Lange’s People in the Room is published by And Other Stories. Her work has appeared in The Literary Review, The Los Angeles Times, Guernica, Electric Literature, BOMB, Words Without Borders, and elsewhere. Her translation of The Mutations by Jorge Comensal is forthcoming from FSG. She is also an editor at Cardboard House Press, a bilingual publisher of Spanish and Latin American poetry.