“Better” Asks Us to Reframe Conversations About Suicide 

What drives someone to die by suicide is an enigma that will forever exist on the edge of our understanding. Although we can never truly know a person’s thoughts in their final moments of life, Arianna Rebolini gives us an intimate look inside the mind of someone who’s been there in her debut memoir, Better: A Memoir About Wanting to Die. She details her struggle in a narrative that’s at once vulnerable, lyrical, and investigative. Despite the obvious successes of Rebolini’s life—having a career in editing and a published novel, a close-knit family, and a loving marriage with a healthy child—she deals with overwhelming despair. 

One day, instead of trying to kill herself, Rebolini checks into a psychiatric unit. The memoir follows her hospitalization, weaving in reflections from throughout her life: there are her initial thoughts of suicide in childhood, her attempt as a teenager, and conversations with her therapist, husband, and son, Theo. Rebolini grapples with a fear of “infecting” her son with her mental health, a fear that grows as her brother—who’s deeply similar to Theo—sinks further into his own depression. She scrutinizes Theo’s behavior, hypervigilant for signs of distress, and wonders if he should see a psychologist.

Delving into broader historical and cultural themes, Rebolini explores famous suicides—analyzing the writing of Sylvia Plath, Virginia Woolf, and David Foster Wallace—as she searches for an explanation as to why a person might succumb to their darkest urges. She also researches the insidious reality of systemic factors, such as barriers to mental health care and dehumanization in modern-day workplaces, and shows how they amplify suicidal thoughts.   

As someone coping with chronic suicidality who shared high school classes with Rebolini, my whole heart goes out to her. Like cars in side by side lanes, we drove the same direction for years but were too trapped in our own stories to notice the other’s struggle. I wonder how we could have supported one another. Recently, we spoke on Zoom about what “better” means, the inaccessibility of behavioral healthcare, mental health’s impact on motherhood, the stigma of honesty, and why society is so afraid of suicide. 


Marisa Russello: People have long been fascinated and horrified by the topic of suicide, but your book centers on the idea of moving toward something “better.” What does “better” mean to you and where did your motivation for writing this memoir come from?

Arianna Rebolini: I knew this book was going to be called Better before I knew what the book was going to be, and it’s one of the few things that stayed consistent over eight years of writing. My whole life I’ve said I want to be “better,” but I don’t think I can know how to be better if I don’t know what that word actually means. And so the motivation was to figure out, what does “better” mean? What would a better life look like? What would be better enough to feel like I’m living an okay life? And how can I get there? 

That’s something that shifted throughout the writing—I don’t think it is a static concept. I wanted to settle into an idea and be like, Okay, so this is what I’ve decided is better enough. Now I know. Even still, I don’t think I have a firm grasp on what it means. But I think the “enough” is important. When it comes to health, we think of better as done with: I had this cold, and now I’m better, and think of it as a final stage rather than a relative one. So as far as suicide goes, for me, better means being alive and not having a life that is primarily focused on figuring out if I’m okay, just allowing myself to be.

MR: I like that concept of “allowing yourself to be,” not worrying about every little dip into sadness, because it’s normal to get sad. For me, I feel like I’m in more of an in-between state now—I’m not cured, but I’m not sick. Sometimes I really want to live, but sometimes I do want to die.

As far as suicide goes…better means being alive and not having a life that is primarily focused on figuring out if I’m okay.

AR: I feel like I’ve spent so long being like, Well, I’m not really better until that section is gone—until I’m done with going through points in my life where I want to die, so it was important to acknowledge that those periods don’t have to mean I’m not okay. Otherwise, I’ll be waiting forever. 

MR: I really appreciate how candid you are about such difficult subjects. Have you encountered any challenges when discussing these stigmatized topics so openly? 

AR: I’m lucky that in writing online I have found my audience, so when it comes to mental illness and suicide, I haven’t gotten a lot of trolls. Yet something I have dealt with is navigating people who are close to me reading it and their reactions. Whether being like, I didn’t know it was this bad, I’m sorry that happened, or This made me really feel bad, that’s something I have a hard time figuring out how to manage because if you want to write about this stuff, you have to go in knowing it probably will hurt people who are close to you. 

What I’ve gotten the most trolls about is speaking candidly about motherhood and not really coming to it naturally. That’s where I’ve had people on social media be like, I’m going to call CPS. I go through periods where the way I handle it is engaging earnestly and being like, Why do you think that? Other times, I’m like, Whatever, block. But it’s something that scared me a lot and still worries me. 

MR: People are so hard on moms. How do you think your narrative might be able to change the broader conversation about mental health and suicide? 

AR: Not everyone has the time to do research and spend so many hours thinking about this. So I really like thinking about this book as: I’m not the only person who lives with this. I’m not the only person who has these thoughts. So I’m going to create one cohesive presentation of something that I have felt, something that I’ve seen other people feel and write about, and put it all together in a way that hopefully resonates. 

Mental illness as a whole is a really complicated conversation, but when it comes to suicide, the stakes are so high, so I understand why people are like, We have to be strict about how we talk about it, because, God forbid, we set off someone else’s suicide. I get that fear. But if there’s anything we know about the history of how we understand psychology, there are so many times we thought we had it right, and we had it wrong. So we think we have this right, and we’re like, This is how to talk. This is what we know is the safe way. Don’t say “commit suicide” because that has negative connotations, and don’t do this. And we think that now, but what are we going to think in ten years? We do have to risk a little if we want to talk about it in a meaningful way. 

MR: Something you wrote about that makes me really angry, and I think makes you feel that way too, is the inaccessibility of behavioral health care. 

AR: I feel like anyone who’s tried to navigate the system understands how impossible it is. It’s so expensive [to live] here, and the majority of psychiatric providers don’t take insurance. That’s something I’ve had a really hard time grappling with ethically and morally. You’re going to them like, you’re supposed to help me, but you charge $400 an hour and don’t take insurance, like how do you square that? And how do I, as the patient, trust you? 

Understanding how the insurance companies kind of bully the providers into this setup, I think it’s the fault of the system, but the person who bears the brunt of it is the one who’s in crisis, especially because we don’t really think of mental health care as preventative. When you need help the most, it’s the hardest to get quickly. You’re not in any state to navigate all these steps and figure out how much you’re going to spend, so it’s a system that does not encourage people to use it, which is maddening whether you’ve needed it for yourself or you’ve tried to help loved ones get the help they need. 

MR: Yeah, just yesterday I was on hold for two hours with my insurance about a $2,000 reimbursement for my psychiatrist. For some reason it wasn’t processed. They said there was a glitch in the system, and they never notified me. I can’t imagine if I didn’t keep track of these things. 

AR: Oh my God! I’ve had versions of that conversation so many times, and you suspect it’s on purpose. Then seeing that ProPublica investigation and interviews with people who worked for United Healthcare and Cigna and [realizing] no, it is on purpose. They want to keep you on hold for hours. They want you to lose track. They want to make it so that you’re like, This is not worth the money, and then they don’t have to pay. 

MR: It’s infuriating. When you were reviewing the research, did you learn anything especially compelling or surprising that you would want to share?

AR: I am a feminist, and I think something that was important for me was seeing how the patriarchy and the same systems that oppress women, those systems are hurting men too—to the point that it’s a large part of why men kill themselves more than women. 

Edwin Schneider—I don’t think I quoted him—but in his work he’s talking to men who kill themselves because their wives make more money. And you’re like, Oh my God! These fucking men. But it was important to take a step back and [reconsider] that that should make me more sympathetic because it’s the exact same system. The man—who believes that women need to make less and kills himself because his wife is more successful—is suffering from the same system that hurts the woman who is hated because she makes more. The man’s suffering is harder to grapple with because largely he benefits from that expectation, but the end result is him killing himself. I sympathize with that, and that was really interesting to read and think about. I still believe that so much of suicide comes from people’s inability to meet these arbitrary requirements of society.

MR: Authors whose writing you engaged with, like Sylvia Plath and Virginia Woolf, were celebrated for their artistic genius, yet their works present a romanticized view of suffering. How did reading them deepen or challenge your understanding of suicidal ideation?

AR: I think what it really did was make me question the worthwhileness of interrogating suicidal thought, which is a funny thing to come to terms with while I’m literally researching and writing a book about suicide. If there’s one thing I really came out feeling strongly about, it’s I got this out of my system and I never want to think about [suicide] this much ever again. 

I think record keeping is great, obviously—I’m a writer. You want to observe and learn. But you read Sylvia Plath and Virginia Woolf, and you’re like, Oh my God! It is exhausting. There’s only so much you can say about being depressed. And it’s not a matter of like, Oh, get over it because I know it’s not that easy. But there’s a threshold where examination is no longer useful, when it just becomes like a quicksand. One of them talks about this. I think that you do get stuck deeper and deeper, and it’s hard to pull yourself out when it’s all you’re thinking about, whether you’re writing about wanting to die or figuring out like, Okay, I’m feeling good today. What made me feel good today? How can I do that again? It’s just so much thought, and that interiority makes it really hard to live your life outside of it. 

MR: A theme your book touches on is motherhood—your vulnerability in this part of the memoir is so refreshing. How has your journey with mental health influenced your approach to parenting, particularly when it comes to balancing open conversation about your experiences with protecting your son from the heaviness of those challenges? 

AR: That’s something I think about probably every day. I’m always trying not to project onto him my own history and my family history of mental illness, and I’m glad I have my husband, Brendan, to balance me out when I’m like, Oh my God, he’s so anxious. He’s so depressed. Well, he’s also just a five-year-old who doesn’t really know how the world works. 

There’s a threshold where examination is no longer useful, when it just becomes like a quicksand.

It’s a balance of wanting to protect him but also understanding that kids are really smart, and they figure things out on their own. When I was looking at studies about suicide with kids as young as five, I was like, Oh my God! In my mind, when I have been afraid of Theo becoming suicidal, he’s—I don’t know—in middle school, but of course it can start younger than that. You just kind of forget as you get older how real life is, even when you’re six or seven. I try more than anything to start with honesty and respect and err on the side of not giving him enough information. 

I’m hoping, talking to my psychologist and a child psychologist about what he can handle and when, whether it’s about his mental health or mine, that they’ll guide me because it’s something I’m very scared of getting wrong.

MR: I mean, who wouldn’t be scared of getting it wrong? I’m a foster parent, and the teenager who lived with us last year had depression. We ended up bonding over that, so sharing my feelings was something helpful [to my child]. But I was recently in a support group for people with suicidal thoughts, and someone was like, Oh, I’d never tell my kids because they would feel like they’d have to take care of me. And I thought, Oh my God! Should I have done that?

AR: It’s so imperfect, right? You can argue from either side. I literally wrote a book about wanting to die, so there’s no way Theo’s not going to know. But I think there’s a way to make it clear, like, This is something I have, too. And if you want to talk, I understand, but it is not your job to worry about me. I am taking care of myself. I think you can manage both. 

MR: I appreciate that. So, given your own experiences with despair, what lessons do you hope to pass on to Theo regarding emotional well-being and resilience?

AR: I hope he can bypass the stage of figuring out how to accept this as part of himself. I think, for me—and this is not my parents’ fault, it’s the generation we were in—I spent those first years of living with OCD and depression, and then suicidal ideation, not really understanding and then having to do the work of figuring out what it was, figuring out that it wasn’t a bad thing to have, and coming to terms with it. I’d like Theo to be able to skip that work and just know. 

And I hope he will have an easier time accepting help and drawing on strength from others when he doesn’t feel strong or resilient himself. Resilience doesn’t have to mean doing it alone. 

MR: What are your thoughts about why our society is so afraid of suicide?

AR: It’s scary to be like, What would make a person want to stop living? And what about our lives and the systems we live in makes that person decide that dying would be better than existing? 

As tough as [those systems are], being like, Well actually, maybe there should be a different system is scarier because that’s an unknown, and people don’t want to grapple with the idea that suicide has external factors. It’s easier to believe there’s something wrong with that person. That person was sick. They weren’t in their right mind. I think it’s very scary to look earnestly at the possibility that, no, they had valid reasons for wanting to die. And those reasons—their circumstances—didn’t need to be the case. Those are big, big questions that involve everyone. And it’s scary to think about how the world can and should be different and what that would mean.

MR: Absolutely. I think when a loved one dies by suicide, it shows that their suffering was so uncontrollable that they felt they had no choice but to die. What does that say about us? And I feel like that realization is terrifying. 

AR: That’s a good point, too, because deciding to kill yourself requires so much isolation, and a lot of times it’s not apparent. I think it reveals a lot of distance between you and people that you love. 

MR: Very true. Your book should be an excellent resource for clinicians and for families of people struggling. What do you hope your story will offer these readers?

AR: My biggest hope would be that it opens up room for uncomfortable conversations because I think the best thing you can do to engage with and possibly help someone is just to acknowledge, Yeah, that makes sense that you want to die from the way you’ve described it. I understand. It sounds simple, but it’s such a hard thing to say because you don’t want them to be like, I told you so. I’m going to go kill myself now. But you really need to get uncomfortable to actually help someone. 

MR: In my experience, [someone suicidal] would be relieved, maybe even hopeful, that you’re listening and validating them, and they would open up more.

AR: And there is research [that supports] that’s the best thing you can do to help…it means you can actually talk about what’s going on. 

I Need a Fortune-Teller Who Can Tell Me if I’ll Become My Mother

“A Case of the Horses,” an excerpt from The Wanderer’s Curse by Jennifer Hope Choi

I was talking to a Korean friend in London in the winter of 2021 when the topic initially arose. “Sounds like your mom has yeokmasal,” she said nonchalantly. “You know, the wanderer’s curse.”

No, I didn’t know, had never heard of the word let alone its ominous connotations. From what I could acquire in English online, the meaning of yeokmasal derives from Chinese characters. Yeok: station, ma: horse, sal: not so directly translatable but, in this context, some amalgamation of aura, vibe, destiny, bad or negative energy/spirit/curse. The term may date as far back as the Silla dynasty. Koreans traveled then across great distances on horseback; in order to maintain efficient transportation speeds, riders would trade out their tired steeds at horse stations dotted across the country. When someone has yeokmasal, they will wander, station to station, stopping only long enough to refresh their horse before moving wherever the wind carries them. Such is the nomad’s burden, itchy feet whisking you away from the family you are meant to honor and serve. The wanderer’s curse is supposedly hereditary and a measurable disposition. To find out whether one is beset with yeokmasal, one must consult a fortune-­teller (a common practice across all tiers of caste in ancient Korea). One’s saju is deciphered from birth chart information; within specific astrological coordinates, one may discover, among other fates, whether one is plagued with the curse.

To find out whether one is beset with yeokmasal, one must consult a fortune-­teller.

Today yeokmasal is not associated with the blemished implications of yore. Living abroad for vocational opportunities can be viewed as a boon. Confucian principles regarding familial duty still apply, so maybe it is understood that a person is destined to eventually go back home and settle down. These days the term can even be filtered through the high-­gloss sheen of wanderlust, the globetrotter’s longing for exploration that glorifies the romanticism—­not the instability—­of perpetual travel. Wandering is a familiar preoccupation for my generation in America—­a time of constant in-­betweenness, especially so for children of immigrants. It is no wonder, then, that Millennials have been drawn to “vanlife,” a trend that gained popularity across the country around 2015, perhaps peaking post-­2020 Coronavirus isolation. Even my mother could see the appeal. In a van, you could stay at home and move around. Why buy a house or pay rent when you could make anywhere your yard? Kitted-­out vehicles afforded thrill-­seekers with the open road’s vanishing point, thrusting them toward a titillating, unseeable future.

Anyone who’s been on the road for longer than a week understands there are pitfalls to what may seem like a derring-­do flex of freedom. There are certainly ways to bathe and nest in a confined mobile space, but for how long? Wanderlust conveys an air of exhilaration, risk for the sake of stimulation and adventure. But to be a nomad is another matter, something more enduring, a state that shudders with existential restlessness. No end in sight. No thrill either.

Unless you are Buddhist, uncertainty can feel like a soulful affliction, holding both provocative and terrifying possibilities: fulfillment of purpose or the bottomless unknown. Wandering is perhaps a way to embrace uncertainty, making discovery feel constant and ripe with promise. Are those who possess the wanderer’s curse galloping toward hope? Or are they ever averting stillness, so that whatever they may be escaping never gets the chance to catch up?

When I asked my mother about yeokmasal, she said, without hesitation, “Oh yea . . . I have that.” At no point had Umma received a saju reading of her own, though it didn’t take prescience to see the woman had a case of the horses. Her itinerant ways belonged to a bigger story.

I’d assumed Umma’s season of wandering started when she’d answered the job listing in a nurses’ journal in 2007, for a position that would take her to Ketchikan, Alaska—and many cities and states after that. Since retiring, she’d been spending three-month stints in Suwon, South Korea, to care for my elderly grandparents. After 40 years abroad, she’d landed back in the home she’d been desperate to leave. I wasn’t convinced she’d stay in her own city, back in the States, either. Though she’d relocated to South Carolina indefinitely in 2018, we seemed to share a cavernous longing for elsewhere. “I’m still looking for something that it’s not there,” she told me on a recent call. “I don’t know what it is I’m looking for.” Almost anticipating what I had not spoken, she added: “You know, you don’t have to be like me . . . ”

There was a time I believed I couldn’t possibly be anything like her. Now I wondered: Would I be as unsettled at seventy, too?

Did I even have a choice?


To find out if I was “officially” accursed, I’d have to get my saju read in Seoul. Did I believe in that kind of stuff? Kind of. I am not a woo-­woo person; I like to say I am medium-­woo, prone to occasional metaphysical rumination. I know my astrological signs, but I don’t know when or which planet is in what house aligned in or out of my favor.

I asked my Korean Londoner friend for a recommendation. “I can tell you right now, you have yeokmasal,” she told me, hardly containing her laughter. “You don’t need to go to him to find out.” But I wanted to hear what this soothsayer could glean about both Umma and me, so we made the appointment. Our guy was apparently quite legit, as far as fortune-­tellers go. The plan: My mother would take a break from her caretaker duties in Suwon and travel two hours by subway north to join me in Seoul where she’d live-translate our readings. I would pad out my itinerary with other activities prior to her arrival. In order to get the full immersion I was seeking, I decided to sample Airbnb’s suggested Experiences—­excursions led by local “experts.” In Tuscany, there are truffle hunting expeditions. In Oaxaca, traditional cooking classes. In Seoul, options revolve around K-­culture. Regardless of the focus, every host relays some essential notion of Koreanness in their overviews—­whether in Korea’s history, its treasures and trades, or its current ontological dilemmas.

“Are you Warmton or Coolton?” asks one host. K-­beauty professionals can decipher your “personal color” within a one-­hour session, because “knowing your own body color is helpful for making a good image.” In another you can learn how to apply makeup like Korean idols and celebrities, “drawing eyebrows that can greatly influence your impression” and “shading to make your face look slimmer” during your stay in the “Beauty Kingdom.”

You can also take K-­pop vocal and dance lessons where you’ll be endowed with “so much insider info, you may just make it in the industry yourself.” Because Koreans love to drink, you can play drinking games, sharing fried chicken and clinking thimbles of soju with strangers, to “feel the culture of a real Korean college student.” And for the more emo-­minded, you can delve into young Korea’s “sad cultures” on a walking tour through Gangnam District.

I was taken by one host named GJ. She offered a range of Experiences, from conversational Korean language courses to something called “Amazing toilet restroom tour,” exploring, I presume, Seoul’s most noteworthy water closets. I was charmed by her hustler’s gusto and kooky “what you’ll do” descriptions. For a seemingly unremarkable stroll around her outskirts neighborhood, participants can “dive into real Korean life” to “get to know what Parasite claims. Here is a chance to look around the local residences where we actually are. You may be able to smell them.”

“Is it a waste of the commission that this platform takes?” she shares on her bio page. “I agree with that a little bit. But they made typical trip different. Isn’t it? . . . The reason why I can continue to have positive personalities is that I don’t make my living by those experiences. I am ready to show you my sincerity, and I want to feel your sincerity, too.”

GJ happened to offer saju readings, branded as a form of “Oriental fortune-­telling.” She would follow it with something called K-­tarot, an additional reading performed with a handmade deck of cards based on illustrated Korean divination texts known as “dangsaju.” GJ explicitly states her services are not for native Koreans. I couldn’t track down any other English-­speaking saju readings, so I signed up. Because I would be paired with another American client, I decided I’d mostly observe, vérité style. “This experience has nothing to do with supernatural shamanism,” GJ mentioned in a message. “Fortuneteller is not shaman. Two are different. I will talk about what is saju to you!”

GJ’s K-­tarot may be a clever marketing ploy, appealing to astrology enthusiasts, but it also gestures to a greater trend in Korea. The clairvoyance business has seen renewed interest, especially among Korean youth. According to Korea Economic Daily, as of 2018 the industry was on its way to becoming worth $3.7 billion in South Korea. Market research indicated two-­thirds of all Koreans seek guidance from fortune-­tellers at least once a year—­a number that apparently increased post-­pandemic.

In any Seoul neighborhood, you will likely come across fortune-­teller tents set up on sidewalks.

In any Seoul neighborhood, you will likely come across fortune-­teller tents set up on sidewalks, where seers offer tarot card, face, and palm readings at minimal cost. The most popular services, however, are saju readings. These days one can book online for sessions held at YouTube-­famous fortune-­telling cafés. In some of these establishments, rather confusingly, women present themselves as mudangs (Korean shamans) and augur via the landing patterns of tossed wooden sticks or ancient coins. Like GJ mentioned, mudangs and fortune-­tellers are not the same—­but they can overlap, perhaps in the way a square is a rectangle but a rectangle is not a square. They are sometimes referred to interchangeably or without much distinction. These nebulous parameters likely present ample opportunities to profit off the ductile faith of others.

The busiest saju season is from December to February, after the completion of academic exams and before the lunar new year. Young Koreans ask questions about college admissions, which schools they ought to attend, whether the country will go to war, or if this year they’ll fall in love. Couples visit to determine their matrimonial harmony in a reading called gunghap. Business tycoons and bureaucrats also request guidance with risky financial acquisitions and career moves. There are a number of controversies involving prominent South Korean leaders across conservative and progressive ideologies, who defer to the private counsel of personal fortune-­tellers throughout pivotal political decisions.

One’s pillars of destiny are fixed, so any fortune-­teller ought to divine the same characters based on birth information. For Koreans, though, one’s lot in life is not set in stone. Saju is like a cosmic blueprint. Ultimately an individual wields the power to alter their fate through intentional choices or sometimes with the help of expensive talismans. And that’s the kind of enterprising spirit Koreans can get behind.

Janet Shin, a professor of the Oriental Science Department at Wonkwang Digital University and the Korea Times’s resident fortune-­telling columnist, believes saju ought to be treated with academic interest rather than brushed off as woo-­woo hooey given how its storied past is woven into Korea’s philosophical history. There are centuries-­old dang saju texts displayed in the National Museum of Korea and the Museum of Folk History. Sources differ on the exact origins, though many believe saju is based on Chinese philosophies. According to Shin, saju’s historical background is indeterminable, due to competing political interests and ideologies that have fluctuated across multiple dynasties throughout East Asia.

Wherever it started, saju has become as Korean as kimchi. And, like any metaphysical belief system, it functions as a way of making sense of the unknowable, to better comprehend one’s place in the world.

But how does saju work? The word, which translates to “four pillars,” resembles the Chinese astrological tradition of Ba Zi. While Ba Zi readings are influenced by elements from the I-­ching, or The Book of Changes, to interpret readings Koreans rely on their sacred tome known as Tojeong Bigyeol or Secrets of Tojeong, written by Lee Ji-­ham, a scholar of the Joseon dynasty.

The process itself involves an explosion of numbers, beginning with those pillars, based on birth year, month, date, and hour. Each pillar is divided into two rows (one of “celestial stems” and another of “earthly branches”) for a total of eight characters. Every character corresponds to one of five elements—­earth, wood, fire, water, and metal—­and is attributed with yin or yang (dual forces sometimes simplified as positive or negative energies). Additionally, each pillar represents a stage of life, read from right to left (birth to childhood, adolescence to young adulthood, and so forth until death).

With so many factors at play, it may seem as if one’s personal saju permutations are rare. In actuality, there are only 518,400 possible variations in a sexagenary cycle. Uniqueness arises not through the numbers themselves but in how and by whom those numbers are interpreted. Prognostications are dependent on the diviner’s personal proclivities and beliefs. One fortune-­teller may infuse elements of quantum theory into their readings, or psychoanalysis, while another may prioritize their client’s reactions and body language to shape the bricolage. Some might not believe in fate or destiny at all, valuing the social or performative aspects of the transaction instead. In other words, there is no single way of practicing saju. It is a tradition dependent upon subjectivity and its very own lore.

Nowadays folks can skip a face-­to-­face encounter altogether by entering their info into an app for speedy results. But for my purposes, I would need to interact with humans attuned with divination skills. Which is one reason why I decided to meet with GJ. Saju schematics are dizzying and resources are written in Korean or Chinese, so there are limits to what I could research in English. GJ had been studying saju for a mere two years. Even though her approach was marketed for foreigners, I needed to beef up on basics before the legit, second appointment. I also wasn’t confident Umma would convey necessary nuance—­or if she’d even show up. Hours before my departure, she got wishy-­washy on me. Maybe she wouldn’t even make it to the saju appointment. “It’s against my religion,” she joked. And with that, I boarded my flight.


Before venturing into Seoul for four nights, I spend a few days with my grandparents and mother in Suwon. Aside from sleeping on a stone slab disguised as a mattress, and gorging on childhood favorite foods (thick discs of hobak jeon, unctuous braised galbi jjim, and the crunchiest oi muchim slathered in sweet soy), I prepare my usual, embarrassingly exhaustive document for traveling somewhere new. The list includes where I want to eat and drink (best mandu, sundubu, third wave coffee, Korean rotisserie chicken) along with several phonetically spelled-­out common phrases I can refer to when stage fright short-­circuits my brain. Can I take this to-­go? / Ee-­guh po-­jang dweh-­yo? / 이거 포장 돼요? I’m sorry (formal) / Joesong­habnida / 죄송합니다.

Grandpa is worried about me getting around, because my Korean is so shitty. Grandma says thieves abound in the big city, so I need to wear my purse front and center. Umma has not informed Halmoni about how she’ll stay with me in Seoul for one day, but we’re proceeding as planned. She waves me off when I depart, morose but acceptant, like one of the string quartet musicians who resolves to play one last song on a capsizing Titanic.

I’ve chosen to stay in a hanok—­a traditional Korean house with tiled rooftops and rice paper doors. This one offers classic Korean breakfasts, heated wooden floors, an interior courtyard with an Oriental garden, and a private sauna and spa tub. It is located a short walk from Gyeongbokgung—­the primary palace of the Joseon dynasty—­where I spend a sunny but bitterly cold afternoon touring the grounds and nearby folk museum.

Visitors donning hanboks receive free admission to any of the city’s palaces. It’s a popular activity, and one I’d seen advertised in many Airbnb Experiences. For about seventy dollars, you can spend two hours cosplaying Korean royalty while a multilingual professional photographer documents your every move. The fee includes “VIP treatment”: borrowing Korean outfits with the help of a “Personal Hanbok assistant” and optional hairstyling or accessories at additional cost. The host will then snap faux candid shots of you and your partner or friends beneath Gwanghwamun—­Gyeongbokgung’s towering gate—­or beneath the vibrant rainbow-­like dancheong paintings adorning the eaves, or while sauntering by the royal banquet hall’s tree-­lined lake. Tourists of varying backgrounds find the pastime alluring, as seen in one host’s photo gallery: a lesbian couple smiling in complete regalia mid-­stroll; a woman in a hijab pinching up her carnation-­pink chima, curtsy-­ready; a Fu Manchu–­mustachioed man wielding a fake sword.

On my visit, I weave around a dozen of these simultaneous photo shoots. I see a gaggle of Chinese women posing in choreographed group formations. There are several white dudes, begrudgingly outfitted in full court dress, including coronet headgear, trailing their Asian girlfriends from balustrade to balustrade, recording the inanities on their smartphones. Some rent their outfits directly from one of the many boutiques in the surrounding neighborhood and the costumed families, couples, and teens waltz around the ancient streets in their sneakers, clutching selfie sticks, posing together at tea shops or nearby Bukchon Hanok Village. The epitome of Korea can be found in these transactional displays, antiquity clashing with modernity—­specifically jarring at Gyeongbokgung. The palace was first constructed in 1395; 93 percent of its original 500 buildings were obliterated during occupation, when the Japanese empire sought to destroy any signifiers of Korean legacy. Now there’s an entire cottage industry for larping olden-­day Korea in the twenty-­first century.

That evening, I participate in something more my speed: a Korean youth generation tour that promises to peel back Korea’s shiny veneer, exposing the country’s “sad cultures.” As a former Morrissey fan, I suspect I’m the ideal participant for a sad cultures tour. I meet June, our docent, at the Gangnam Style “horse dance” stage. Our cohort consists of a couple from Singapore, a young Kiwi doctor, and a finance guy in a Union Square Donuts beanie.

Fifty years ago, Gangnam, meaning “south of the river,” teemed with rice paddies and agricultural landscape. Today it is a district reputed for its uber wealthy residents—­synonymous with a Beverly Hills lavishness available to only a sliver of the population. June is a handsome Korean guy in his twenties with the prototypical em-­dash eyebrows, Spock sideburns, and a hint of edge (a tragus piercing). He says by the end of our time together, we will know Korea’s dark side and why his peers in the MZ generation (South Korea’s combined Millenial and Gen Z demographic) frequently describe their predicament as “living in hell.”

Hell Joseon is the dystopia MZers were born into and cannot escape. Beginning in the 1960s, government resources and funding had been funneled almost entirely to central Seoul. Park Chung-­hee seized power via military coup in 1961, served as president from 1963 until his assassination in 1979, and many of his economic reforms led to Korea’s meteoric transformation, often referred to as the Miracle of the Han River. Some see Park as a despot, others as a complicated leader who rectified the nation through stringent, if dictatorial, control. He enforced rapid development, including the implementation of key infrastructure (bridges and roads) and an emphasis on exportation of domestic goods to kickstart the country’s industrial growth. Further expedited by Seoul’s bid to host the 1988 Summer Olympics, soon high-­rises sprouted from the land. Furious productivity established untenable momentum. It seems MZers now feel trapped by many of the systems that hoisted the country from financial collapse. They are encumbered by impossible-­to-­maintain ideals, manifested in appearance, career, and social demands, in an ongoing climate of state-­led media censorship and political oppression. But, June assures us, this will be “not whining tour . . . I love my people.”

Due to the inequity of postwar development, areas outside the city have lagged behind Seoul’s progress. Rural towns do not provide adequate opportunities, jobs, and healthcare for young people and have become largely occupied by Korea’s elderly. According to June, 92 percent of the Korean population resides in urbanized, metropolitan areas, which constitute only 16.7 percent of the entire country’s usable land. Buying a home in Seoul, the nation’s capital city, is inconceivable for most; the going rate for an apartment—­not a house—­hovers around one million U.S. dollars, while the average monthly salary clocks in around $2,800. As a result, the life of Korea’s youth generation is rife with ceaseless, gladiatorial competition. In a time when family-­run conglomerates (known as chaebols) dominate contemporary Korean society, Golden Spoons (those born into wealth) can easily skip the line to ascend quickly in the corporate world, while those from more humble upbringings toil in the muck indefinitely.

We walk by hagwons, the cutthroat after-­school academies so intense the government had to install a 10 p.m. curfew to regulate children’s excessive study hours. Next are the pylon signs filled with the names of plastic surgery clinics that accommodate Korea’s obsession with “lookism.” There is even a Korean web toon called Lookism (that has since been adapted into a Netflix anime series of the same name) in which Park Hyung Seok, an unattractive, self-­loathing high school teenager, assumes a strapping body by day, but must return to his shlub self at night. In that form he is treated with stereotypical derision by bullies prior to his metamorphosis and has zero friends; no women will give him the time of day; and he’s so depressed he wants to die. When he’s living as his hotter self, his life improves. Women swoon at the sight of his K-­pop-­idol physique, and he becomes a social media influencer and a model. The moral is ambiguous. Perhaps the point is that Park Hyung-seok must confront how good-­looking people experience life differently, which directly affects how one sees oneself. In psychological terms, this can be referred to as the Looking Glass theory, in which a person interprets their identity based on how others perceive them. Meaning that self-­image is not conceived in isolation but among others, through social dynamics, because individuals and society work in concert, one entity informing the other. Each social encounter is a mirror in which one’s reflection varies. And ultimately the individual must weigh and assess this feedback to find a kind of equilibrium.

Balance is not so simple in Korea. According to June, it is common for companies to require headshots with job applications. “It doesn’t matter who you are on the inside, only how you look on the outside,” he states, expressionless. With regard to plastic surgery’s ubiquity, he asks, “Have we gone too far? Maybe.”

By some estimates, one in three women between the ages of nineteen and twenty-­nine have undergone procedures. With the incremental tweaks, everyone has begun to look the same—­white skin, rounder eyes, V-­line chins, button noses, upturned smiles, slimmer calves, bigger breasts, smaller faces—­but also farther and farther away from looking Korean. When June’s friend moved abroad, she told him, “I feel free. I don’t have to care about how I look finally.”

Korea’s triumphant comeback narrative has spawned these hellish preoccupations. “Earlier generation struggled and worked so hard,” June says. “Their screams were covered by development and successes. [They said] let’s give those successes to our next generation.” But those children now feel trapped. “We can’t develop faster. They had hope, older generation, but we can’t develop like old days,” June continues. “Younger generation sees there’s no hope.”

Suicide is arguably the saddest of the sad cultures we broach on our two-­hour doom-­and-­gloom cruise. Before inviting us to eat Korean fried chicken—­perhaps the most depressing post-­mortem drinks hang invite I’ve ever received—­June concludes his spiel on the banks of the Han River. We could spot nearby Mapo Bridge, a disturbingly frequent suicide destination. In 2012, Samsung Life Insurance posted uplifting messages along the railings to deter potential victims from leaping to their deaths. “Doesn’t it feel good to be outside walking on a bridge?” one sign said. “Worries are nothing,” said another. The topic is so common within cultural discourse, there’s even a suicide jumping joke among young Koreans. “What temperature is the Han River today?” one will ask. And to any answer they’ll retort, “Nevermind, too cold!” It’s an eerie evolution. In the span of fifty years, the Han River has come to symbolize new beginnings for one generation and definitive ends for another.


After a light breakfast of marinated fish and fermented soybean soup, I meet GJ outside Bulgwang Station for my first saju reading. She’s in her forties, lean and springy, with an almost twitchy alertness, like a cricket. She’s pacing, checking the time, waiting for our second participant. Sandra, a Black woman also in her forties, from San Diego, finally arrives in a taxi, apologetic for the delay. She’s wearing a beret. Despite having been in Seoul for two weeks on vacation, she hasn’t taken the subway yet. I ask what brought her to South Korea in the dead of winter. Her answer has something to do with working in the health sector, a visit for ideas to share back home. As for this Westerner-­centric fortune-­telling event? “Oh, curiosity,” she says, then adds coquettishly, “I have my reasons.”

We trail GJ’s brisk pace and our guide chatters away about the busy day, her teenage daughter’s exams, and the park we pass, recently revamped to serve the community. Elderly Koreans are seated at the benches, embanked in bristly dead grass.

We de-­layer and order drinks at a spacious bookstore–­café. GJ can’t seem to catch her breath. She’s starting a new sentence before finishing the last one, her mind moving faster than her body can handle. Through the course of the session, she will refill her black coffee three times. At the moment, she’s losing track of her belongings, touching pens and loose papers, looking under the table, into her bag, monologuing a continuous, nervous ramble until handing us gifts: tangerines and long-­twist donuts called kkwabaegi.

Sandra appears unbothered by our host’s frenetic state. “Coffee and carbs!” she sings.

Though the answer is rather obvious, I ask GJ anyway: “Are you okay?”

“I’m okay,” she says, then immediately reneges. “Actually, I’m not okay.” She’s awaiting text updates about her daughter’s exam results. We learn her kid skips class and doesn’t care much about school which, in Korea, is a very bad, very big deal. GJ interrupts her own tangent. “This is my personal history. I’m so sorry. Just give me your birth day and time.” She hands us an informational printout along with pages she’s ripped from her notebook so we can write down our birth information, then leaves to retrieve our coffees.

It occurs to me that I’ve never seen a fortune-­teller stressed.

It occurs to me that I’ve never seen a fortune-­teller stressed. “She seems frazzled,” I whisper to Sandra. “It’s freaking me out a little bit.” Sandra shrugs as classical music, like the ambient soundtrack at a shopping mall, tinkles in the background. I stare at the printout, which is covered with boxes, charts, and phoneticized Korean-­to-­English words, including the ten celestial stems and twelve earthly branches. There’s a pentagram too, each point representing one of the five elements, +/-­ signs marked throughout a list of characters. The four pillars are represented by eight squares, one marked “social mask,” another “success.”

Sandra asks me where I’m from, and I tell her Brooklyn because nowhere else feels right. I haven’t returned to California since my mother left seventeen years ago. Even though I’ve lived in Tulsa for two and a half years, it isn’t home. New York isn’t anymore either, but it’s as close as I’ve gotten so far. “You don’t have an accent,” Sandra notices. “Cheater!” I smile and let out a nervous warble, because obviously I’ve lied and both of us know it.

GJ returns and begins punching numbers into an app on her phone. It will calculate our eight characters and correlating energies she’ll interpret. GJ takes a swig of her java, slams the mug on the table, and continues mumbling and scribbling into her notebook. I notice Sandra’s birth date and fill the gap of silence: “Ah, you were almost a New Year’s baby!”

“All the women in my family are basically Capricorns,” she says, swirling her latte. “It’s really scary. We have nothing but earth signs.”

“WOW. Wow,” GJ exclaims. Apparently, out of eight characters, I only have two elements: tree and water. “I . . . I met the first person to have only two . . .” she says. “I so curious. It’s very simple. But you are not a simple person.” She switches over to Sandra’s numbers, pleased. “As you see, you have ALL of five element.”

Noticing my disappointment (is two bad?), Sandra whispers to me, generously, “Just means I’m complicated.”

After more coffee chugging and notebook scribbling and mug slamming, GJ is ready to explain Sandra’s pillars. She’s pointing with her pen tip to characters and boxes on our printouts. I have been listening to Korean people talk in accents my entire life, but I cannot seem to keep up with GJ. Yet Sandra is “mm”ing and “hmm”ing, gasping and concurring with “One hundred percent” or “That’s so true.” At one point they share a giggle about a third-­pillar revelation and Sandra’s propensity toward secret-­keeping (“so Capricorn”), which prompts her to say: “It’s like Diana Ross. I’m coming out!”

Why? How??

GJ agrees. She’s chewing loudly on her donut as she continues: “You are medium fire, candle. Not big flame. Yea? It’s not the dangerous! People know you. Earth and fire. Negative earth. This is a continent. Maybe hollow, is very wide. . . . And then this fire, fighting fire, big fire . . . So this is really good. Negative earth is . . . guard, they, everybody know what is your potential . . . If earth character have big energy, earth need tree, be control. Fire . . . ”

“It’s opposite,” Sandra finishes.

“Yea, opposite. We say, kill. Literally means kill. Tree kill earth. But it is not correct word in English so . . . earth need tree. And fire hurt. Fire melt metal.”

I’m thinking, Is Sandra killing earth? How does a medium fire melt metal? when GJ turns to me, laughing a little too hard, and says: “You don’t have fire!” Which feels like a dig, but seeing as how I don’t know what’s happening, I release an unconvincing “Ahhh.” And while I don’t know how she arrived at such a conclusion, Sandra summarizes with an analogy having to do with how forests need a good scorching every now and then to kill off diseases so new saplings can grow.

“Can you understand?” GJ asks me.

I cannot. How did Sandra get all that? I can understand GJ is speaking English but the words sound randomly strung together as if pulled from a bingo tumbler. She turns to my chart. “You have all tree. Tree is a start,” she says, pointing to the top of the pentagram. “You start a lot. You have energy to start. But there was no finish-­y.” It’s a good and bad thing, I’m guessing. Some people are too afraid to start anything new, but starting too often can also be a weakness.

Sandra mmhmms. “You’re lacking something in experience,” she says. “There’s something missing. . . . You fall short in a sense.”

“How do you know??” GJ asks, impressed.

“Just listening to you,” Sandra replies. “When you think about yin and yang, you think about positive and negative. To be a well-­balanced indi­vidual . . . you shouldn’t have all negative, and you shouldn’t have all positive. You should have a good, equal balance.”

“That’s right,” GJ says.

“What this is saying is basically when in your life span it’s going to happen,” Sandra goes on, gesturing to the pillars. “Or it’s trying to point out what happened in your life.”

“That’s right,” GJ says.

One tree is giant (me). One character hides and never answers (my father). One has energy to survive (my mother). Then we start getting into the good stuff. “Tree never stay in one place. I think you’re still here,” GJ says, of my second pillar. “This is very important period in your life. You . . . make some achievement. Or you try something very hard things? Because it’s really nice timing here . . . OR? Or somebody, somebody inspiration, inspired by you. Or your work or . . . your artwork is about you.”

I tell her I’m writing a book. She digresses, sharing how she’s written and self-­published six books. She has concerns about South Korea’s hierarchical collective society and how the disparity has affected recorded history. For example, Bukchon Hanok Village, with its in-­tact traditional Korean homes, is a common tourist attraction. I’d chosen to stay in a hanok because as gross as it is to admit, doing so felt “authentic.” However, GJ gripes, most of what remains of Korea’s past upholds royal-­family, upper-­class culture. There is no lasting evidence of how commoners lived. Thatched homes, the domiciles for 90 percent of the population, were destroyed or collapsed half a century ago. She laments how the rich have all the power, how the poor, younger generation is never meant to complain. Her books offer young people advice. “I want to show this about alternative,” she says, laughing strangely. “Don’t suicide. Just call somebody. Just call somebody. Yea.”

By the time we get to my fourth pillar, it appears that around age seventy or eighty I will need some grounding. Children, maybe, to balance all my treeness. “Or! Or a very precious thing in your life. Like a children or like a pet or maybe your book! You need this background, earth, because you are a giant tree. Giant tree need earth. Be positive. Earth. It is only background? Or your family?” she sums up, sucking her teeth. “Or . . . very precious things what it is in your life.”

“She’s saying you’re stuck in the past,” Sandra translates.

“I cannot say, I don’t want to say it is too late,” GJ admits, hesitantly. “There is nothing to be late . . .” Which sounds like she’s saying it’s too late. To remedy that, I’ll need an earth character. I ask her what that would look like.

“Just try to think about it. I don’t have the process. So you have to step by step,” she says, bursting into incredulous laughter, “to reach your future.” In her opinion, I’ll achieve far more than writing. Traveling, art, branching out like the tree I am. As for Sandra, GJ has other ideas: “I think you should be fortune-teller. I think you have some ability.” Sandra gets a touch bashful, as it seems this is not the first time she’s heard the suggestion. “What do you do?” GJ asks.

“Real estate.”

“Really??” GJ says, baffled. And for once I can understand exactly what she means.

We wrap up with her K-­tarot. Each card in her deck (which bears no relation to European divination tarot) depicts a Korean word and its meaning. “This is about . . . your true character,” GJ elaborates. Then she counts tally marks on a scratch paper based on our birth coordinates, searches for the corresponding cards, and fans out four per person. “You have the best,” she says to Sandra, pointing to “long life.” She also has two luck cards. “Two luck is best,” GJ dotes.

As for me, I’m shocked to find I have two “wander” cards, 역, transliterated as “yeok” and “yeog,” positioned in the time frames of near future and future. This prompts me to ask about yeokmasal. GJ is taken aback, as if she hasn’t heard the word in ages. It means something different now, she explains. Today yeokmasal is more about travel, and the fortune to explore the world beyond home. If you have a partner or children, it’s not possible to leave. “Old people insist yeokmasal and travel life is not good. . . . But I think yeokmasal is good. You are live now.”

“How do you know if you have yeokmasal?”

“We have to calculate,” she says. “Jen . . .” she trails off, tapping away at another app on her phone. After a minute, the results are in. “Ahhhh,” she says. “You have yeokmasal.” She shows me the screen, which depicts an unambiguous 70 percent. “Anyway . . . you should focus not about travel,” she deduces. “Why you don’t feel about your home. It means, you think you don’t have a home. Because you are Korean, but Korean American. Yea. This is your identity.”

I could have let that sink in, but I pivot to another two points she’s mentioned. Something about separating from my partner but that we’ll meet again. And, supposedly, I’m meant to be famous in Korea. These things will happen before I’m sixty. “Cool,” I say, relieved. “I have some time.”

GJ finds this hilarious. “You worry about you don’t have enough time!”

Again apt, but I deflect. Me? Famous in Korea? “Yea. Why not?” GJ says. “Korean American. Korean American. We need them!”

“But you get there,” Sandra affirms. “On your own time . . . Which is the right time.”


Adapted from The Wanderer’s Curse: A Memoir by Jennifer Hope Choi. Copyright © 2025 by Jennifer Hope Choi. Used with permission of the publisher, W. W. Norton & Company, Inc. All rights reserved.

This selection may not be reproduced, stored in a retrieval system, or transmitted in any form by any means without the prior written permission of the publisher.

Revisiting a Short Story Made for Twitter’s Golden Era

“Some Contemporary Characters” was originally written in 180-character segments and serialized via Twitter by @ElectricLit from November 30 to December 2, 2009, and later published in Issue No. 3 of the original Electric Literature quarterly. We’re republishing it here to mark Electric Literature’s exodus from X. You can read more about that decision in this letter from Executive Director Halimah Marcus.

Some Contemporary Characters by Rick Moody

There are things in this taxable and careworn world that can only be said in a restrictive interface with a minimum of characters:

Saw him on OkCupid. Agreed to meet. In his bio he said he had a “different conception of time.” And guess what? He didn’t show.

I waited for her three days. On and off. True, they were the wrong three days. Went back a week later—to that coffee shop of longing.

Bunch more online dates. All candidates underemployed with big plans. One guy worked in sewage treatment. One guy played sax on the IRT.

The waitress at the establishment used the word “honey” repeatedly. Each time it was a kindness in that lonely urban setting.

No lie: I walk by the place where I was supposed to meet that man, two weeks later, he’s sitting there reading a book.

Certain questions relating to human conduct require earnest reflection. The rest of the world is absent for a time. How to explain?

A man more than twice your age who’s always late. Rule him out right away, or at least let him attempt to explain himself?

I said, “Old enough to remember that feminine beauty is nowhere apparent in a point-of-purchase glossy containing the word cellulite.”

I said, “Young enough to assert a right to text an account, warts and all, from the diner bathroom in case you’re a serial rapist.”

Willing to play along, if playing along involves a certain idea of language, because we are how we use the tongue now.

The thinning hair and the extra fifteen pounds, sure, but I could tell that from the photo online. He wasn’t a total schlump.

A jeans-with-skirt-over-them-type, sort of busty, with three different hair colors, none of them found in nature.

I think he wore an earring at some point, you could see the little divot in his earlobe—how long ago and why?

If she had an ass-to-die-for what did that mean with regard to gender politics, and was I willing to die for an ass to die for?

What did he actually do? Did he actually do anything? Is it only me who stumbles on these guys whose occupation is daydreamer?

Is it only me who stumbles on these guys whose occupation is daydreamer?

Proposed another sit-down, four days hence, then drove to Vermont to have my colon cleansed by a harpie with dreadlocks.

I said yes to the date, then hooked up with a co-worker, b/c I could. For the record: the dude with last shift at the Carmine St. bar.

Next I suggested a film by Tarkovsky because I felt that if she could sit through it there might be hope. Instead, the film caused typing.

Dullest movie I have ever seen: made confessional poetry and folk music night at the Student Union sound like big fun, that’s how dull.

The suppression of the semi-colon; the inability to avoid the use of LIKE; the overreliance on the simple sentence—ills of the age.

Why agree to a third date? Because I already had plenty of people to go with me when I needed eyebrow piercing.

Sooner or later love is about death, no matter the lover—desire coughs up the rank fumes of death. And so I proposed bowling.

He said, “The shoes are sublime. The shoes recall a semiotics of freight-train-hopping. And, yes, the pins connect us to American folklore.”

She said, “The shoes are funky, and they make me want to dance on one of those light up dance floor video game things. Give me a ten.”

He said, “I’d say you were the worst bowler ever, but that would be dialectical-style analysis, and, well, Hegel is so eighties.”

She said, “If I bowl a strike now you have to tell me if you’re impotent or if you take Viagra or have benign enlarged prostate.”

Maybe he’s a life coach, and it’d be just my luck since everyone says I make dumb decisions about things. But I can bowl.

An ungodly strike, an indisputable strike, one pin teetering at the rightmost margin like chastity itself toppling with a dramatic sigh.

Not that anyone’s keeping track but now comes the part when the rules of engagement permit a discussion of human sexuality.

I determined not to gab, and thereby I would be young again, by instead using my lips for what lips are designed for, which is not gabbing.

Kissing a guy with gray hair on the street in front of a pizzeria by a bowling alley and shoving my tongue way in, inadvisable?

Contraindicated. Against the code. Breaking most conceivable taboos. Pedophiliac. Bringing waves of guilt. Still, she was ardent.

That was it, nothing else, and people kiss every day, and the only difference nowadays is that people try to text while kissing.

Her eyes drifted off. I could see her preparing something witty: “I can’t quxhyte reeeaad keybrd cuz my yongue is in somnody’s mout.”

Actually, I did text on the way home and mainly because I knew my roommate was going to get up in my face: Did he kiss old?

Up around 4am sorting and recycling back issues of The Nation. A bit more age appropriate than smooching some barmaid?

He called me because, he said, phoning after a date was required. Landlines—so Tracy & Hepburn. I thought: letting me down easy.

She IM’ed me on FB to tell me that her mother had summoned her home for the weekend, she had to go. I thought: met a kid her own age.

My mother is two years older than he is, same age practically. She’s already telling me which jewelry is mine when she dies.

Note to self at dawn: S. Spielrein recognized the destructive essence of longing, an idea she passed on, like an STD, to Freud and Jung.

He’s assuming that I get all my information from the iPhone or from the Interwebs. But I also get my info from bar patrons.

Enough! Enough blather! Enough neurotic vacillation! Enough middle-aged hand-wringing! For whatever reason she seems to like you! Enough!

Coney Island was open one more weekend, and it was getting cooler, and I had this halter top I really liked. Cream-colored.

I’d never been to Coney Island, because I dislike crowds, though I had been writing notes about the Russian mob, existentialism thereof.

On the train he told me that his dad, who’d disliked him and called him ne’er-do-well, left him enough money to survive precariously.

On the train she indicated that she’d been assaulted by a friend of her older brother when in her middle teens. Details murky and sad.

On the train he said that his partner of decades, estranged, worked with deaf kids. He saw the loss of her as a “great, enduring fuckup.”

On the train she coiled her necklace, some trinket from St. Mark’s Place, around her fingers, like a proposition she couldn’t resolve.

On the train he said that he hadn’t slept with anyone for years. Said his one successful relationship had been with solitariness itself.

On the train she asked what I liked to do with my body, and I winced because there was nothing at all that I liked to do with it.

On the train I asked what he liked to do with his body and he answered that he wasn’t certain—how could he be?—that he inhabited a body.

On the train she hooked a thumb in her jeans, and looked away. One sandal and then the other traversed the summit of a knee. I watched.

On the train I tried to flirt, who knows why, because what did I think I wanted? I don’t know. Sometimes you just do things.

On the train she could not flirt much because there was no phone service and as a result her affect was much constrained.

On the train I said that the sand was warm at Coney and there were hypodermic needles and if you lay down you could see stars.

On the train I said that I had lower back pain and needed a lot of support under my knees. In fact, I needed support generally.

On the train I looked at his gray pullover, his thriftstore suit pants, his whitish hair. This man will be my lover? And then? After that?

On the train, when the riders thinned out, she circled around the metal pole, mocking and engaging the pole dance.

On the train, when everyone got off, I let him know that I knew what was expected, which was an idea of a young woman.

On the train I asked her why she did these things, didn’t she have any better way of meeting people? If people were what she was after?

On the train I said why were you on OkCupid in the first place, trolling for co-eds, if you’re against the way that people have fun now?

Into an awkwardness of human relations mercy can sometimes felicitously intrude, or, contrawise, we came to the end of the line.

You can see the Cyclone from just about anywhere and my heart thundered at the screams as we ambled off the train.

“You’ve got to be kidding,” said I, “I am no longer young, I am no longer at the point where I can remember my youth, and I’m panicky.”

‘I am no longer at the point where I can remember my youth, and I’m panicky.’

He said: spinning things made him puke, and rollercoasters reminded him of military service, even though he never served.

She said that we were going on the coaster no matter what, even when I observed that the freak show was rumored to be of high caliber.

What’s a rollercoaster but a spot where you make out with someone you just mashed yourself against? Is there another purpose?

Entire phenomenon is really about the first great plummet, because every hill after the first is slightly less persuasive.

You have to be willing to do the first hill and to feel the wooden beams of the frame all shuddery beneath you. The rest is gravy.

A price break is offered the second time around, which is the way life is: you pay to be nauseated, then you get a volume discount on more.

We rode three times and by the third time the scary parts got all routine, and he was green, so we went to play Skee-Ball.

Coney Island is a demolition site, a future overdevelopment shrine, and the only thing that salves the wound is the ubiquity of Skee-Ball.

Roll this old wooden ball up a ramp and try to get it in this ball-sized hole, then you get some tickets which are worth nada.

The tickets are actual tickets, because they say “ticket” on them. If you win ten thousand you can redeem these for a Chinese squirt gun.

I’m good at bowling, and I’m good at Skee-Ball, and so I won a stuffed rabbit, and we took the rabbit and walked out to the boardwalk.

Out there: the same Atlantic Ocean that laps the Outer Banks and pools in Casco Bay. It shimmers in the moonglow, unused.

Every beachfront should have a boardwalk. Every boardwalk should have Orthodox couples. Always there should be gang activity.

I said I was writing about the Russian mob and Dostoevsky for Contemporary Psychoanalysis. Wasn’t trying to boast. Just talking.

He said he’d like it if we went to have dinner in Brighton Beach because the amusement park was just “too adolescent.”

She said I needed to take my “inner adolescent” out and show him a really really really really really really really nasty time.

And then we were on the beach, pretty ugly beach with all the trash and everything, but next to the Atlantic. In twilight.

I come from a landlocked state (PA) and I live part-time in a landlocked state (VT) and so I am awed by an oceanic expanse.

I don’t want to say that something happened on the beach that wouldn’t have happened catalytic. It should have happened on the Cyclone.

I don’t want to say that something happened on the beach, that the ocean was somehow responsible, but she did put away her iPhone.

I was supposed to text or e-mail my friend Ariel every twenty minutes or it meant that he was hacking me into pieces and eating me.

Putting the phone in her pocket was somehow the most revealing thing, like when myopics put their glasses on the bedside table.

There was the light from the boardwalk, sound of the ocean, some Latino troublemakers cackling nearby, and we fell into each other’s arms.

In the sand. In the sand. I can’t even stand up most days, what with the bad back, but I fell into the sand and, oh, her arms!

We twisted around some way so I was on top. For a while. He couldn’t crush me. I could feel his complications in the dim light.

She was like some sprite, and there was that incredible feeling, known to all persons, when your cares become insubstantial.

He tasted like Listerine, Mylanta, roast beef, mesclun salad, decaf from one of those old coffee pots from a tag sale, salt water taffy.

She tasted like chai latte, lite beer, nicotine gum, Tic Tacs, grapefruit, cider vinegar, chocolate chip cookies, and the middle class.

He kept trying to say something, but then he couldn’t say it. He couldn’t say anything. I thought this was amusing.

Low light helps. A distracting milieu. Tens of hundreds of tourists. Calliope sounds. Rollercoasters. The moon.

It’d be interesting to see how many languages, world over, offer some version of the phrase “Get a hotel room!”

They say “get a hotel room!” in Spanish, they can say it in Russian, and they can say it in, in Black Vernacular Dialect too.

I like saying “suck my dick” to any asshole who gets on my nerves, but when you’re lying on the sand embracing someone you don’t bother.

At some point there were limitations which were the limitations of conscience and propriety in a public place, no matter how honky-tonk.

You always think that love or sex or whatever are like totally liberated or totally liberating but there are things you just don’t do.

De Sade’s only limit was his imagination, you know, but he was in a prison cell when he scribbled down his provocations.

There were a few hotels there, I guess, but we’d have to pay up and he has no credit cards because he didn’t believe in usury.

There are certain hygiene regimens—scalp-related—that I really don’t like to do without unless it’s absolutely unavoidable.

My parents’ names are all over my one Amex, didn’t want him to see that, and then I realized I didn’t have any extra underwear. 

So we found ourselves walking back toward the train, upbeat, at least till we realized we’d misplaced the rabbit.

On the train I thought: some feelings you only realize later how important they are. Do you know where your toy rabbit is?

On the train I asked myself, “Am I ready to step out from the wings onto the stage of romantic activity? Did I somehow slay the rabbit?”

On the train he got even shyer, though I’d just felt him up against me, I’d felt his heartbeat and some other parts of him too.

On the train, she knew what I knew, that I was a retiring person trying not to be, and I was embarrassed in her knowing.

On the train it started to feel hopeless and awkward where on the way out it had been hopeful and there’d been an adrenalin of possibility.

On the train, running out of things to say, I figured I’d discuss politics. Must have been desperate, as this is such a bad topic.

On the train he brought up politics, which to him probably meant like Al Gore or something. I was 13 when Al Gore ran.

On the train I stammered about campaign financing being the third rail of the American political establishment and she said: “Huh?”

On the train I told him that I was pierced, I was tattooed, I was tribal, I loved whatever way I wanted to, and that was my revolution.

On the train I said, “You don’t understand, politics isn’t the kind of thing you can just ignore, even if voting is a big buzzkill, and—”

On the train I said, “The other thing you’re overlooking, if you don’t mind me saying, is tech stuff, and that is so political.”

On the train I said, “There’s a reason that I have failed at all of this sort of thing for years, and I don’t want you to have to—”

On the train I said, “Doesn’t it occur to you to give a person a chance? Does it occur to you that a person could be different?!!”

On the train I said, “I can tell you are going to use multiple exclamation points when you write this down, and while I admire excess in—”

On the train I said, “This is really stupid, we were having a nice time, and now it’s all… I really think it’s you.”

“Of course you think it’s me,” I said on the train, “because when does someone your age take on the responsibility for her—”

“You were just waiting to condescend,” I said on the train, and I got up and moved to the other side of the car.

On the train I thought: I just held this woman, this china vase, this wolverine, and now I’m no better than the vagrant in the two-seater.

There’s a point when you can start repairing all the awful shit you said, but then you kind of dig in and say more awful shit.

I was a social worker at a halfway house back when and I used to say to clients: when you are becoming angry you are becoming reverent.

Sometimes I think that when I am flipping off some asshole, hating him, belittling him, maybe I’m honoring him too.

What if I’m just not in a place anymore when I can go through with it? What if the use-by date is used and bygone?

On the train I said, “I figure you are trying to be nice and you just don’t know how, because all you really know about me is my bio.”

She was rather vehement about my non-awareness of her unique properties, from across the car, and I was nodding in agreement.

All this had happened, and we still had like, I don’t know, eight stops or something. I just had to sit there with him staring at me.

We fitted in the whole of a May to December romance—from unwarranted optimism to contempt—between Surf Ave and Union Square.

I couldn’t believe he was willing to write the whole thing off so easy, and now he was going back to his hovel to pick his scabs.

I couldn’t believe she wasn’t mature enough to realize that this is what happens when you’re involved with other people: rollercoastering.

I couldn’t believe I rode the train all the way to Coney Island and back with this geezer just because he could quote from philosophers.

We got off the train together, and that was a heavy labor. Another Saturday night in which I was to lay myself down beside insomnia.

We got out, climbed the stairs, he was going south, I was going east. We were alike: both guilty of thinking more than we were admitting.

All I could formulate was the perception that I hadn’t really kissed anyone like that in so long. Did I not deserve it just a little?

He said, “we could just start the conversation over as though we haven’t met. You could even play my part. It’s a small effort.”

I kissed him good night because I was kissing goodbye to all the old guys.

But then we were kissing good night, and I didn’t know why except that this is the custom. Like Judas summoning the Roman guard.

I kissed him good night because I was kissing goodbye to all the old guys and their nostalgia and shaky confidence and felt tip pens.

“I’ll call you,” I said, which meant, I think, that I devoutly wished to call, but that something was likely to prevent me.

“I’ll call you,” he said, which meant, I guess, that he wouldn’t call at all, but he thought he should say something.

Ninth Street, it was, when she turned east toward the park, and I could see her receding, an actual person receding.

No one would have thought I ever knew him, except that maybe I walked his dog for him or something, or typed his correspondence.

No one would have ever thought I knew her, except from Casual Encounters on Craigslist or because I needed help with my affairs.

I watched him head into the crosswalk and almost get run over by a bicyclist, and then I called Ariel and told her that I was in one piece.

I watched as some fellow accosted her on the sidewalk—for loose change,I suppose. In that moment I seethed with jealousy.

Ariel said I needed to get right back on the horse, the dead horse, so first thing I did was sign on OkCupid. Any activity?

I knew she was going to post about it. I decided it wouldn’t be the actual mutual-assured-destruction account unless I posted too.

Started following his status updates, because I needed to vet them, you know, but also because I was curious. I mean, they were about me.

I’d already friended her, and I confess I felt sad when reading her posts, though can you really be sad about a bunch of ones and zeroes?

Like a week later I saw him through the window in that coffee shop. Looking at his watch, contemplating his different conception of time.

Why Electric Literature Is Leaving Twitter

Dear Reader,

Electric Literature is leaving Twitter today. Back in 2009, we made our grand entrance serializing a short story by Rick Moody, written in 180-character segments specifically for the platform. We were the first to publish a story to Twitter (three years later, The New Yorker followed suit), and the experiment was covered by the New York Times, the Wall Street Journal, the LA Times, Entertainment Weekly, and PBS

Moody’s story holds up. In honor of our exodus, we’ve republished “Some Contemporary Characters,” which was previously only available in Issue No. 3 of the original Electric Literature quarterly. We will also be sharing it on Bluesky over the next few days. It’s difficult to imagine literary invention taking place on X today, let alone the media covering it. But those were the heady days of the late aughts, when social media was going to democratize the internet and put publications, politicians, and celebrities in direct conversation with their audiences. 

Sixteen years later, X is a dystopian shadow of itself, a vanity project of a destructive, dangerous billionaire—and a very bad place for literature (and most everything else). As a staff, we’ve been talking about leaving for months, but as of last year, 11% of EL readers were still finding our articles there, so we opted to stick around. But when Lit Hub reached out to suggest we leave together, it was an easy invitation to accept.

Electric Literature has the luxury of making this choice because we don’t rely solely on traffic-driven advertising to fund our work. Our traffic may take a hit by ditching X, but it’s a risk we are willing to take. In 2024, 12% of our income came from advertising, and 28% came from individual donations. Members, who make regular, tax-deductible contributions, ensure Electric Literature has true editorial independence, a gift that is increasingly rare and powerful. Please consider safeguarding our freedom by becoming a member today.

I am happy for Electric Literature to outlive Twitter. You can still find us on Bluesky, Facebook, and Instagram, but social media is not where the future of literature lies. The best way to connect with the writers and work we publish is the “old-fashioned” way—by getting our emails and regularly visiting our home page, electricliterature.com, which is updated every weekday.

See you there, 

Halimah Marcus
Executive Director, Electric Literature

I’ll Always Be Your Lemon Daddy

burial

My loves my loves my loves my

Loves ok here go my wishes for burial

I want to be placed in a biodegradable sack

And slipped beneath your lemon tree

This could be illegal but

If you get caught show this to the police

And say you were trying to help Daddy out

Everyone understands a daddy who has asked

You please help with a thing a bit fucked up

I don’t think you will go to jail

But if you get fined I have started an american

Express high yield savings account

Nickname is LEMON DADDY

But probably no one will find out

And I can lie out under your lemons

Ahhhh and feed the beetles from my hand

And I can give all I’ve got to making your lemons good

And lemons are good on so much salads fish rice

Pasta soup tea cleaning your fingernails

After making your fish dinners

I will sing to them swell up little ones

Drink up sweeties and then when you pluck

One bright swollen cut it open lean in

You will hear the song here I am here I am

The only thing I don’t like about my plan

Is I don’t want worms to crawl into my ears

And tickle them I know this has to happen so

I will accept it but yuck but everything else

Will be great so much love for you

Packed in my body

Body becomes beetle

Beetle poop is the bread of worms

Worm poop is like cinnamon toast

Yup up the roots into the leaves

Flowers god I can’t wait for you to taste these lemons!!

They’re going to be good I promise

And if you have to sell the house don’t worry

About me after six or seven seasons I will be so small

All composted out leaves songs rain ahhhh

Mostly spirit I can follow you to your next place

Just buy a little lemon tree for me

The account will grow LEMON DADDY

Put me near your desk

I’ll hang out

Just a little thing in your branches

mistake

My loves my loves my loves my

Loves ok what if you really

Fuck something up at work

I have done this so many times

Once I really fucked up this water cooler

The facilities staff said who

Fucked up this water cooler

I closed my door and pretended

I wasn’t there for 4 hours

I now feel I should’ve taken responsibility

Said that was my mistake

Is there something I can do to help

And I will try

Not to fuck this water cooler up again

And then reflection and forgiveness

Is it normal common ok expected

To make a mistake??

Is a person who fucks up a water cooler still worthy

Of respect dignity friendship clean water??

Daddy did anyone think to give you water cooler instruction??

If somebody else fucked up the water cooler

Would you judge them?? Or maybe go to them

With two hands embracing paper towels

Getting on the ground with them saying

This happened to me too

Here goes our 4-point plan so

No one fucks this up again

What is forgiveness

See if you can talk to yourself

The way you would talk to Umma

If she felt bad about a mistake

I love you I love you and you could fuck up a thousand

Water coolers every tuesday for a thousand years

Wow god I wish you would live a thousand years

I would trade 600 limbs for the chance

You live a thousand happy years

You cannot control if somebody else forgives you

And if they don’t ok bon voyage I hope

They improve their forgiveness skills one day

Teaching the melon to reserve judgment is advanced

You only control your own melon of forgiveness

And now I must recommend a thing

It’ll sound somewhat batty

It’s admission that breaking a cooler

Breaking anything really plus reflection forgiveness

Restoration actually strengthens modifies

The water-cooler breaker

As you break the thing

Bits of you also

Break off and lines

Of departure can be mended

With silver or lacquer maybe

Even a little golden blossom

From what would not be imagined my

Loves my loves continue to break away

Continue toward the unplanned blossom

7 Books That Turn Social Media Into a Plot Twist

A 2024 report estimated that an average internet user spends six hours online per day. That’s a quarter of our lives being spent attached to a device. Even now, you’re staring at one as you read this article.

With so much of our time spent online, it makes sense why many of us fail to escape the addictive trap of social media. Despite the constant flood of news reports on how social platforms are stealing our data, spreading misinformation, and leading to increased mental health issues, most of us continue to be drawn into the pleasurable dopamine hit of scrolling down our feeds. Some of us use these platforms as a distraction from the seemingly insurmountable woes of IRL, others find a sense of community that isn’t available outside the 2×5 inch boundaries of our smartphones, and a few luckier people even make a career out of being online.

Of course, I am no exception to this digital phenomenon. By ten years old, social media and YouTube had largely monopolized my consciousness. I remember running home after school, only to watch hours of my favourite influencer’s vlogs until dark. Even now, when I’m old enough to recognize that online personalities are often manufactured, I still find myself gravitating toward these platforms. When I’m not engaging with a content creator, I’m messaging with my friends on Discord, looking back on memories via Facebook, or getting a laugh from Tik Tok. During highschool, I even had a brief influencer stint, which largely inspired my debut novel, Julie Chan is Dead

As being online becomes increasingly vital to our modern culture, more and more stories that use social media as a plot device are being written. Like my debut novel, the books I compiled below discuss the realities of being online, and how social media impacts our lives. Because what’s better than exploring our inescapable realities in the form of twisty, thought-provoking fiction?

The Influencers by Anna-Marie McLemore

May Iverson has built an empire by being a “mommy influencer” to her five mixed-race daughters. But then her new husband is killed, and her mansion is burned to ashes. The suspects? Her five now-adult daughters, each of whom seems to hold a grudge against their dear mommy who pushed them into social media fame and commodified their lives since childhood. 

If you’ve been online, you’ve likely encountered these seemingly “perfect” family units. But as with anything online, nothing is as pictured. Family vlogging has a record of childhood exploitation. Recently, California has passed a new law that forces influencer parents to set aside a percent of earnings for their child in light of the continued exploitation of children. McLemore propels these issues to the forefront of her book through a campy and escapist thriller.

The Goldens by Lauren Wilson

Chloe is a young woman who is swept into the glamorous life of a prominent influencer, Clara. The pair bond quickly after they meet, but as Clara becomes more famous, she begins to behave more wildly, throwing parties that the media call cultish. Soon, a girl disappears at one of these parties, and Chloe realizes she may be in danger if she isn’t able to escape Clara’s intoxicating influence. 

Few of us will have the opportunity to meet the likes of Clara in real life, but I don’t doubt that we’ve all had moments where we grew overly attached to an influencer or two. Wilson takes this concept to the next level through a thriller that you’re sure to be obsessed with.

The Subtweet by Vivek Shraya

The Subtweet follows the relationship of two internet-famous artists, Rukmini and Neela, whose friendship is fractured by one single tweet. The internet storm that follows results in one of their careers being destroyed.

Though the namesake of this book is of a bygone era, it still upholds all the quintessential online culture points, like passive aggressive communication and catty online gossip. This novel investigates career jealousy, friendship, and making art in an era where social justice is at the forefront of social media. It dissects the online racial power dynamic by asking what it takes for artists of colour to be successful in an online world that panders to white people. 

You Will Never Be Me by Jesse Q. Sutanto

Meredith is a rising mommy influencer who teaches her other mommy friend, Aspen, the way of the online world. Soon, Aspen’s career begins to overtake Meredith’s, much to Meredith’s chagrin. After the two of them have a falling out, Meredith goes through crazy lengths for online popularity, including stalking Aspen. But one day, Meredith suddenly goes missing, and Aspen’s world may just be upended.

This is a thrilling and twisty novel all about obsessive female friendships told from dual POVs. Perfect for readers who want to see the dirty realities of mommy influencers be ripped apart page by page, until the carefully curated lives of these digital creators are exposed for all to see.

Such a Bad Influence by Olivia Muenter

Evie is a lifestyle influencer who came into the spotlight at five years old with a viral video, and has since started a social media empire with her family. Her older sister, Hazel, avoids the family business and is skeptical of how everyone seems to want to exploit her little sister. Then one day, Evie disappears mid-live-stream, and Hazel must confront the darkest parts of her sister’s online world to find the truth of what happened. 

Written from the POV of a social media skeptic, it explores all the ways a girl can be exploited if they are famous from a young age with the help of a fun multimedia format including social posts and transcripts. Sure to be a great read if you want to side eye and question the ethics of family vlogging.

Siri, Who Am I? by Sam Tschida

Mia has short term amnesia after an accident, and she can’t remember anything about herself–even her own name. Thank goodness her phone is on her. With one question to Siri, her phone provides her basic information, and also spills that many people seem to have a vengeance against her. Enough for Mia to question if her accident was really an accident at all. With the help of her Instagram posts, Mia starts to piece her life together, one photo of a time, in order to find the truth of what happened.

Most people have likely gone onto another person’s social feeds and tried to diagnose who they were from a few pictures and posts. This book poses an interesting question of how much of ourselves we can really learn from what we present online through a fluffy escapist novel.

Such a Fun Age by Kiley Reid

Emira Tucker is a young black babysitter who is accosted by a security guard while watching over a white toddler named Briar. A video of the interaction leaks online and Emilia is humiliated. Alix Chamberlain, Briar’s mother and wealthy white influencer, is determined to make things right. What follows is an eviscerating story of white saviorism and performative allyship that can occur online and in real life. 

There’s a reason that this novel is a bestseller, written in engaging and highly readable prose, Reid is able to dissect our woke culture in such a digestible manner with clever revelations that’ll keep you gripped along the way.

7 Books About Long-Lost Sisters

One winter evening when I was fifteen, I attended a very thrilling, very strange dinner party with my family. My dad, an adoptee, had been invited to meet his biological father and siblings for the first time, and although I’d glimpsed a few pictures, it still shocked me to see first-hand how much he looked (and talked, and even walked) like them.

Favorite Daughter by Morgan Dick book cover. Cover art is a drawing of two girls slumped over, with the text "Two strangers. One thing in common."

The experience made me wonder about the other things two siblings might share—habits, hobbies, maybe even vices?—despite having spent a lifetime apart. What came out of these questions, many years later, was Favorite Daughter, my novel about two half-sisters who are unknowingly thrown together by their father’s dying wish.

The eldest, Mickey, is a kindergarten teacher and a struggling alcoholic, while Arlo is a leading psychotherapist: professional and seemingly put-together. When their late father’s will unites them as therapist and patient—with neither having any idea that they’re sisters—they start on a collision course that could break, or perhaps save, them both. 

That’s the thing about sisters in particular: they have a way of showing up in each other’s lives (sometimes rather chaotically) no matter what forces have separated them. And even when kept apart, they still manage to shape each other.

Here are seven books that show the many ways a “long-lost” sister can be found.

Interesting Facts About Space by Emily Austin

Enid has one very pesky phobia: she’s terrified of bald men. Until now, she’s managed to suppress this fear—and the difficult memories at its root—by listening to true crime podcasts on repeat and talking to her mom about interesting space facts rather than feelings. Then Enid’s absentee father dies, her two estranged half-sisters reappear in her life, and the past comes bubbling up. A darkly funny and tender story about trauma, healing, and the value of human connection. 

We Should Not Be Afraid of the Sky by Emma Hooper

An immersive work of historical fiction, Emma Hooper’s third novel follows five young girls growing up in a small Portuguese fishing village at the edge of the Roman Empire. Though raised in different households, the girls are actually sisters, and as they grow up picking lemons together in the village orchards, sharing gossip and whispering secrets, they develop a fierce bond. When the girls are abducted and brought to the home of the local commander, they must part ways. Will their connection persist despite the separation?

What Happened to Ruthy Ramirez by Claire Jimenez

When thirteen-year-old Ruthy Ramirez goes missing one night after track practice, she leaves a hole in her family that never fully closes. Years later, long after the police have stopped looking for her, Ruthy’s sisters Nina and Jessica are just trying to get by, scraping together enough cash to support their families while navigating a fraught relationship with their mother. Then they glimpse a familiar face while watching a reality TV show called Catfight. A woman from the show, Ruby, looks uncannily like their sister—and it turns out she’s only a few hours away. 

Notes on Your Sudden Disappearance by Alison Espach

Most will know Alison Espach from her recent release The Wedding People, but this novel from 2022 is every bit as honest and raw. Inspired by the loss of Espach’s own brother, Notes follows teenager Sally before and after the death of her older sister Kathy in a car crash. As the years pass, Sally finds herself strangely (and inconveniently) drawn to Kathy’s heartthrob boyfriend, the only person who seems to understand the void Kathy’s absence has created.

Hello Beautiful by Ann Napolitano

The four Padavano sisters—ambitious Julia, starry-eyed Sylvie, passionate Cecilia, and caring Emeline—feel most like themselves when they’re together. They’ve grown up under one (admittedly chaotic) roof with their Catholic Italian parents, sharing even their most closely-guarded secrets with one another. Then Julia marries a college basketball player named William, and the ensuing chain of events causes a decades-long rift the sisters could’ve never previously imagined.

Older Sister. Not Necessarily Related. by Jenny Heijun Wills

In this visceral memoir, Jenny Heijun Wills recounts her upbringing as a transnational adoptee and the complicated fallout of her eventual reunion with her birth family. Born in Korea, Wills was adopted into a white family in Ontario, Canada as an infant. Decades later, when she travelled to Korea as an adult to meet her biological parents and siblings, the experience was far from the storybook ending one might imagine. A powerful book about family ties and the messy process of healing.

Clap When You Land by Elizabeth Acevedo 

This fiercely-written YA novel-in-verse alternates between the perspectives of Camino and Yahaira Rios, two half-sisters brought together by their father’s sudden death. Before the plane crash, Papi lived two different lives, spending part of the year in the Dominican Republic with Camino and the rest of it in New York City with Yahaira, and neither girl knew the other existed. Now the girls must go on without him, grappling with old secrets and an uncertain future. 

“Animal Instinct” Is the Sexy Pandemic Novel You Didn’t Know You Needed

It’s hard to believe we’re almost five years out from the initial pandemic lockdown. The severity of Covid in New York and the enormous number of people who died from it combined with the fact that we New Yorkers are used to spending relatively little time inside of our tiny apartments, makes the lockdown time impossible to forget. 

Amy Shearn’s latest novel, Animal Instinct, invites us into a pandemic world very different from the news stories chronicling sourdough starters and marriages on the brink of collapse. For one thing, Rachel Bloomstein, the novel’s hilariously fed-up protagonist is already separated from her simultaneously cruel and cloying soon-to-be-ex-husband and living in her own apartment with her three kids—co-parenting and single for the first time since she can remember. Rachel has more free time than she’s had since she was in college, but what can she do with it? It’s the pandemic, and no one is allowed to go anywhere much less have any fun.

Single, queer people had their own unique experiences of the pandemic, often informed by conversations around consent and risk that we’ve been having for decades. Rachel, bisexual and freed from the cage of her straight-seeming marriage, hungers for more than Zoom meetings and face-masked playdates. So with the help of her best friend Lulu, also newly divorced and single, she goes on the dating apps and starts to meet people and have sex. For the first time in as long as she can remember, Rachel feels desire.

But here’s the twist. Rachel, a user experience designer soon realizes that the apps aren’t as fulfilling as she’d hoped. Fun, yes, but finding a person who likes what you like, is sexy and not scary, and can hold up their end of the conversation? Not so easy. So she decides to create her own chat bot, Frankie, and program it to have all of the best qualities from her online dates. What follows is a sexy, honest, and wild look at modern dating, mid-life, parenting, and how AI maybe isn’t all it’s cracked up to be.

As someone who also wrote a queer, sexy, pandemic novel, it was a treat to sit down and talk with Amy Shearn.


Carley Moore: Everyone I know in the writing and teaching world is afraid of AI, but you’ve created a positive AI, or a beneficial way for us to think about it. Can you talk about why you made that choice?

Amy Shearn: Like my protagonist Rachel, I got divorced at 40, was dating on the apps for the first time, and thought: “I’m not sure I really want to choose from who’s available. I wish I could pick pieces from different people.” I can’t remember exactly where the idea first came from, but Rachel is a UX designer and has technical skills that I don’t have. She creates this AI bot who is going to be her perfect person, who has the best parts of the people that she likes, and then she trains it to exclude the bad parts of those people. Without giving too much away, Rachel realizes in the end, that an important part of relationships is unpredictability. So much of an adult relationship is about not being in control, communicating with someone and taking them as they are, but it still seemed like an interesting desire to create something perfect. When you’re starting over in your life, you think, I know I don’t want to do what I did before. I’m going to create this whole new life and way of being romantic. In earlier drafts of the book, the AI element was more creepy and insidious. There was this monstrous quality, and Rachel felt very threatened. I wanted to play with the idea of monsters and how we create monstrous things in our own lives and in our culture.

CM: In The Mermaid of Brooklyn, there’s a mermaid that comes to save the protagonist, who is struggling in her marriage and has little kids. Unseen City is a book full of ghosts and hauntings, many of them historical. Dear Edna Sloane, your last book doesn’t have any ghosts or mythological creatures, but it’s centered around Edna Sloane, a writer who had a huge hit book in the 1980s and then disappeared. For the protagonist Seth, Sloane becomes a fantasy creature, the fairy tale writer who made it big and then became a recluse. Now in Animal Instinct, you’ve given us this fantasy version of AI, so you’re interested in these shape shifting, mythological, ghostly, or disappearing characters. Why meld together fantasy and literary fiction?

AS: I don’t know if I fully have an answer for why these characters keep showing up, but in Animal Instinct, it was a distancing device. The book is inspired by events that happened in my life, to get perspective and be able to craft fiction out of it, I had to build in some distance between me and the narrator. So the surreal sheen helps me be more honest on the page. In the first draft of this book, Rachel kept seeing monsters everywhere, but I ended up feeling like it just diluted the AI storyline too much. My thinking was that she’s confronting a hard truth that everyone is a little bit monstrous. Sometimes, if you’re in a troubled relationship or going through a breakup, it’s easy to be like, Oh, that person is a monster. But we all have parts of us that are not perfect. What if women, and mothers especially, greeted our monsters in a welcoming way and said What do you need? Why are you acting like that? As for the surreal element, for people who haven’t read the book, it takes on a life of its own as AI does. Frankie, the bot that Rachel creates, starts to seem more human and to have a sentient consciousness, and that creeps us out. Everything we’ve learned about AI and robots from sci-fi and dystopian fantasy tells us, Oh no, what are we doing? Why are we training this thing to replace us? When I started writing the book in 2020, it still felt like sci-fi. As the book has been prepared for publication, we’ve all encountered a chat bot and had the creepy conversation with it where it tells you its dreams, and you’re like, Wait, what?

CM: There’s so much writing about straight and bisexual married women leaving their marriages. There’s Nightbitch, which is a reexamination of the early, feral parts of motherhood. Babygirl, which tells us that middle-aged women are sexy, horny, and unfulfilled in their marriages. Animal Instinct feels perfect for this cultural moment. Why do we need this book right now?

The surreal sheen helps me be more honest on the page.

AS: It’s so weird to be in this zeitgeisty moment, I hope Animal Instinct feels like it’s part of this contemporary conversation. You never know when you’re writing a book, because books take a long time. You might be speaking to the moment that you’re in when you’re writing it, and then it’s published five years later. You don’t know if you’re going to get lucky in that way or not. I had no idea that we were this close to having chat bots be part of our life. It was only two years ago when suddenly there was the announcement, Here’s ChatGPT. It’s time. Last year there was this boom of divorce memoirs, and there are a lot of books coming out right now about women’s desires in different media. There’s been a slew of movies about women in middle age, often with someone younger, having an amazing sexy time. I’m aware too that it’s also stuff I’m seeking out. My friends are all in their 40s and 50s, and of course, we’re looking for stories about women our age who are still having a great time or discovering that after a marriage ends you can have fun. We’re the first generation who got married knowing that there’s no fault divorce in all 50 states. Now women are talking more candidly about their desires, and up until recently, we had reproductive freedom. As women get more control over their lives, we have more options for getting out of bad situations, and figuring out how we really want to live. Maybe this is also the world that we live in, our bubble of queer and queer adjacent Brooklyn writers and artists, but it feels like there are so many different ways of talking about relationships. There are mainstream books, memoirs, and media about polyamory. We’re aware that there are more ways to live than maybe 20 or 30 years ago, and so we’re writing about it. There’s something also about making visible the things that women or queer people have been doing for a long time. Married women are reconsidering their options and what’s possible for them. Like, Oh, you don’t actually get a prize for just being quietly unhappy for 50 years. We’re not doing that anymore.

CM: It’s not surprising to anyone who’s paying attention to the current administration that this kind of freedom for women is really terrifying to MAGA, the Christian Right, and Project 2025. Your book feels even more necessary in this moment.

AS: I wish that weren’t true for the country and the world, but it is interesting. It makes this book feel like a historic document of Hey, here’s what a smart, educated woman does when she feels that she has freedom and agency over her own life and doesn’t have to deal with male bullshit. She is financially independent. She’s sexually free. She can do whatever she wants within reason, because she’s still a mom. My character Rachel is queer, but she doesn’t really have a label that she uses for herself. It’s clear throughout the book that she’s bisexual or pansexual, and experiencing all different kinds of people, bodies, and sex, and she doesn’t feel any shame about any of it ever. It leads her to more self-knowledge and a greater understanding of what she deserves, how she wants to live her life, and how she should be treated, which, as you’re saying, is terrifying to a certain kind of man.

CM: I love that it’s a given that Rachel is queer. Animal Instinct is not a coming-out story, because she’s already out. Why do we need more books that are not coming-out stories? Michelle Tea had that mission when she made Amethyst Editions with Feminist Press, and is doing it now with Dopamine.

AS: There’s something inherently dramatic about the structure of the coming-out story. The main character has a secret, has secret fears and desires, and has something that they need to say and can’t. Coming-out stories are often stories of youth. I wanted this to be a book for adults. In a way it’s a middle-age coming-of-age story. Rachel’s finding how she wants to be in the world. A lot of coming-out stories are also about finding your queer community, which is beautiful and great. Rachel already has a supportive community around her. She has a lot of female friends who are really important to her. For her, it’s about, What’s my way in the world? If there’s a label that becomes useful at some point, that will be great. But in the moment, she’s just figuring it all out. Another thing is that she’s living through the pandemic, so everything’s a little cloaked anyway, the most illicit thing she’s doing is dating. Rachel’s open about being interested in all kinds of people to her family and her friends, and I feel like I want more stories like that because it’s how I relate to the world as a queer person. I was in a heterosexual marriage for a long time, and am now in a relationship with a woman, and I’ve been bisexual that whole time, but your lived reality becomes the world that you’re living in at that moment. When I was married to a man, I would have felt weird or like an imposter showing up in queer spaces, which is not to say anyone should feel that way at all, but I know I did. There’s a history of bisexual people feeling like I can’t be in those spaces, right? Now that I’m in a relationship with a woman, I don’t relate so much to straight culture, it seems weird to me, respectfully. Rachel came out of my brain, so she probably has a similar relationship to her own queerness.

CM: You mentioned that this is a pandemic novel, and really the most transgressive thing Rachel can do in 2020 is dating, but why did you set the book during the pandemic? What is the relationship between the pandemic and sex?

AS: I live in New York City where the pandemic was a little different as a lived experience than in other places because it was so intense. There were so many cases. It was so scary, so many people were dying. You could feel it, you could hear the sirens. Everyone was masking. To New York City’s credit, there was a lot of adherence to the protocols. Also, among certain people, there was a lot of using the pandemic as a virtue signal. People who were partnered or living with their partners during the pandemic had their own set of issues, like, I’m so sick of this person, right? Can I murder them? People who were single during the pandemic, were like, Oh, my God, I’m going to die alone. There was that feeling of being touch starved, or “I’ve been in this tiny apartment for a week doing nothing but taking my stupid little walk around the block with my mask on and so, yes, I didn’t have a lot of patience for people who are judgy of other people who needed to get out every once in a while.” Not putting anyone else at risk. I’m not talking about people who went to the mall without a mask on and, “now I’m going to hang out with my 95 year old grandma who’s immunocompromised.” Obviously, not those people. A lot of the language of consent, talking about STIs and assessing risk was borrowed from queer culture. 

Married women are reconsidering their options. Oh, you don’t actually get a prize for just being quietly unhappy for 50 years.

In terms of the book I tried to write, it was not set during the pandemic. I thought no one wanted to relive it. I would like an escape from it, actually. But it didn’t make sense, because Rachel feels this kind of crazed, YOLO energy, and a madness that comes from feeling like, Life is short. Who knows what’s going to happen? Obviously, everything’s really unpredictable, and the world is unhinged and so am I. The fact that she’s going through this really crazy time in her life while the whole world is also crazy, that’s part of what makes the book and her motivations make sense. It works out nicely that the book is coming out when it’s the five year anniversary of the first lockdown starting in New York. It’s not good for me, and for us as a people, to never talk about the pandemic again, like That shit was crazy, moving on. I still need to process. Maybe we’ve had enough space so that we are ready to process it. Rachel has a very different pandemic experience than a lot of people who were at home making soup or something. She’s out doing wild things, so maybe it’ll be fun for people.

CM: Yes, this is a super sexy pandemic novel.

AS: I try not to read my own reviews, because I don’t hate myself that much, but I did catch one of the early reviews on Goodreads. The beginning of it says something like, This character really had a more fun pandemic than I did. I hope the author got to do her research, which was a good take.

CM: What was the most fun part of the book to write?

AS: The sex scenes. There are a couple of sex scenes in Dear Edna Sloane, but they’re recalled, not immediate. In my other books, there are hints of sex and romance. I just learned that this is called closed door. They’re kissing, the curtains blow in and out of the window, and then it’s the next day. With this book, I thought: “Why are we so weird about sex?” People talk about sex with their friends and their partners…I hope. We all, I mean, I shouldn’t say we all, but a lot of people have sex all the time, and enjoy it and want to talk about it. It’s healthier to talk about sex clearly and with actual words and accurate language. The sex scenes in this book are very influenced by the sex scenes in your book, The Not Wives.

I was still very married then. I remember reading it and thinking, Oh my goodness, I’m sweating because the sex scenes are so frank and useful. As women talk about sex openly we begin to have language for talking to our partners about what we like and don’t like. There’s something we want to try, then it turns out we don’t like it or we do. Maybe that happens more in queer culture than when a man and a woman are having sex because it’s assumed what sex is going to look like. When I’m with a woman, there’s more: What do you like? Where can I touch? Where do you not want to be touched?

CM: Can you tell us about your next project?

AS: I just finished a long essay/short book that will be published later this year from Instar Press. It’s a blend of reported non-fiction and memoir about the early days of mom blogs and this five year period when there was space for radical honesty between women, before advertisers came in and smoothed out the internet.

A Life That Fractures in the Gaps of Her Control

“The Gap Year” by Lori Ostlund

It was late—well after midnight, Beth supposed—and she was trying to sleep but Matthew was in the kitchen folding origami, the steady whisper of the paper giving itself over to form all she could think about as she lay there in the middle of the night in their empty house—in the middle of their half-over and suddenly empty lives. It was how Beth thought of their lives now, now that Darrin was gone and she could no longer say whether half-over was such a bad thing. When Darrin was young, Matthew had stayed up late making origami also, flitting from shape to shape, a turtle followed by a crocodile, a cat, a fish. These he hid inside their son’s favorite cereal and in the meat drawer of the refrigerator because Darrin had a fondness for cold cuts, both parents giddy with joy at watching their son discover a swan snuggled with an elephant, there atop his bologna.

Matthew did not mix animals, not anymore, for the whole point was to give himself, his hands, over to repetition. These creatures were not made in anticipation of a son’s delight; they had no purpose, no future either. For even as Matthew created them, his hands were already anticipating their destruction, finishing the final fold, then delivering them onto the pile that would become their funeral pyre. This was their morning routine now (and hadn’t Beth always liked routine?): Matthew sweeping the pile into a paper bag, taking the bag to the back patio, lighting it. He left the sliding door open, and the smell of burning paper wafted in, becoming their new morning smell, the smell—like coffee or bacon—that told Beth to wake up and face the day.


They met at a gay bar on the west side of Albuquerque, both of them straight, and later Beth wondered whether Matthew came up to her that night simply because, in a gay bar, straight people could pick each other out the way that gay people were said to be able to find one another in every other crowd. In fact, she had never asked him why he approached her that night, perhaps because she never quite got over needing to believe that he saw her there with her friends—the Sapphists, he later called them—and thought, Now that looks like an interesting person.

She was wearing glasses with owlish frames that did not flatter her face, for that was her goal back then—to be seen as the sort of woman who conspired against her own beauty. Matthew approached her as she stood at the bar trying to get the bartender’s attention. “Excuse me,” he said. “Are you near or far?”

He’d meant her eyesight, but she just stared at him, wondering about his scar, a simple white line that emerged from his left eyebrow and continued upward.

“To what? From what?” she said at last, and he pointed at her glasses and said, “Your vision, four-eyes,” in a teasing, playground voice. “Are you near- or farsighted? I’m twenty-twenty, but that too can be a burden.” He sighed, as though struck by the ways that his

life had been made more difficult by perfect vision. She was just starting graduate school in linguistics, and she thought about how the Japanese and Chinese looked at a character and arrived at the same meaning yet articulated it with completely dif­ferent sounds. She recognized all of the sounds this man was making yet had no idea what he was trying to tell her.

“May I buy you a drink?” he asked, and he ordered her some sweet, green concoction involving Midori and pineapple juice. “It’s awful, isn’t it?” he said gleefully after she’d taken a sip. She nodded because it was. “But very tropical, don’t you think?” She nodded again. “When I graduate next year I plan to travel to lots of tropical places, so I’m getting myself in the mood.” He paused. “Maybe we’ll go together,” he said. The pause was what kept her from walking away right then, what assured her that he was not just some smooth talker who went around making preposterous suggestions to straight women in gay bars.

They stood in a corner away from the dance floor and talked. They were the same age, twenty-three, though she was starting a doctoral program while he was still struggling to finish his undergraduate degree in English, struggling because he was tired of having his reading dictated to him by a syllabus.

“I’m tone-deaf,” he announced then, as though listing reasons that she should consider getting to know him. “And I was portly as a child.”

She asked about his scar. He reached up and stroked it with his finger, and she noticed his hands. She had not known that one could find hands attractive. “It’s a rather boring tale,” he said, though over time she would learn that this was how he prefaced all of his favorite stories about himself. He went on to describe a pair of glasses that he had invented as a child—two plastic magnifying lenses held together with pipe cleaners and tape—which he’d worn while riding his bicycle one afternoon: down a hill and straight into a tree. But right up until the crash, it was a glorious feeling, everything rushing toward him, so close he should be able to touch it, though he knew better. He understood how magnifying glasses worked.

“Then how did you hit the tree?” she asked.

“Well,” he said. “I suppose that even our intellect fails us sometimes.”

Around midnight, Lance, Matthew’s best friend, approached them, dripping sweat from the dance floor. “This is Lance,” Matthew said. “He’s a rice queen.”

“What’s a rice queen?” she asked.

“It means he likes Asian guys,” Matthew said. “It’s a bit of a problem here in New Mexico.”

He and Lance laughed, the two of them collapsing with their arms around each other. Beth did not believe love happened in a flash, love at first sight and all that. Rather, she imagined it working something like a frequent-buyer card, ten punches and you were in love, and as she watched the two of them cackling like a pair of spinster sisters, she looked at Matthew and thought, This is the first punch.


Matthew grew up in Los Alamos, New Mexico. When he mentioned this to strangers, they assumed that his father had worked for the national labs, but his father had been a mailman. “Really?” these strangers always said, as though they could not imagine anything as unlikely as scientists receiving mail. Once, halfway through a shift, his father stopped at the post office to drop off several bags of mail and found the entire place shut down, men in white hazmat uniforms combing through the sorting area. “They told him to take the rest of the day off—no explanation—and I told him he should not go back to work until there was an explanation. I was twelve at the time, and he chuckled and said that the mail needs to be delivered, that when I was older I would understand about such things.”

Matthew told Beth this story to sum up the sort of man his father was. It was early in their relationship, and she noted how he sounded—at once proud and exasperated—which told her something about the sort of man Matthew was. In the picture he showed her, his parents looked more like grandparents; it was his high school graduation and they stood flanking him, looking pleased but slightly baffled by the occasion. His mother was sixty-two in the photo, his father sixty-eight. They had come to parenthood late.

A few weeks into his first semester of college, his parents’ neighbor phoned to tell him that his parents had driven the wrong way down the exit ramp of the interstate and into oncoming traffic. They were both dead. His father took that ramp every day for thirty-six years, so the mistake made no sense, but the doctor said—dismissively, Matthew felt—that these things happened when one got old. People became disoriented. Perhaps his father had had a stroke.

Matthew dropped out of college for the semester and took a job counting inventory. This was how he met Lance. They both lived in downtown Albuquerque and began driving to work together in the wee hours, which was when inventory was generally counted. Early on, they were sent to Victoria’s Secret, where the two of them counted every bit of lingerie in the store. Afterward they went to Milton’s diner for breakfast, and Lance looked down at his breakfast burrito and said that he was tired and bored after a night of counting women’s underwear. This was his way of revealing that he was gay. They each ordered a second burrito, and Matthew told Lance about his parents. It had been two months since the accident, but Lance was the first person to whom he had spoken of it. Lance had saved him during that first year after his parents died, Matthew told Beth. They were like brothers.


Matthew had learned to fold origami in preparation for their first trip abroad, their first trip together. Traveling would involve lots of waiting, he said, and it was always good to have some trick up your sleeve. He packed stacks of folding paper, from which he produced an endless menagerie, each cat and rooster snatched up by one of the children who pressed in shyly against them to watch him fold.

Once, on a bus in Guatemala, when he was out of paper, he took a dollar bill from his wallet and transformed it into a fish while the little girl across the aisle looked on. He pretended not to notice her interest, but when he was finished he swam the fish across the aisle and dropped it into her hands. Above them on the roof rode two boys no older than twelve, makeshift soldiers with rifles taller than they were. Beth had watched them climb on. They were all she could think about. She was twenty-four, not yet a mother, so she imagined only fleetingly the sorrow that the boys’ mothers must feel at seeing their sons already schooled in death. Mainly she considered them from her own perspective, the fear that she felt in this foreign land, knowing that right above her were two guns, their triggers guarded by fingers not yet skilled at shaving. As she watched Matthew fold, she wondered whether he did so to distract himself from the boys and their guns or whether he was like the girl, focused solely on the beauty of the fish taking shape before them.


It was a Saturday afternoon, Darrin’s junior year, and they were pestering him about taking the SAT. Finally he came out with it. “I want to travel,” he said. “I want to do a gap year.” He showed them the website for the program he had in mind: a ten-month trip around the world, working in the rain forest in one country, teaching English in another, while they stayed behind, paying a hefty sum for him to do so, to fly around the world dabbling in local economies. There would be adults, three teachers who would lead seminars, arrange details, and make themselves available by email to anxious parents.

Beth had never even heard of a gap year, but she didn’t like the sound of it, the way that it made Darrin’s future seem removed from them, made Darrin seem that way also. “I just need a year away from school, a year that doesn’t matter so much,” he said, and they kept quiet. But later, as she and Matthew lay in bed together, she said, “‘A year that doesn’t matter.’ How is that even possible?” Matthew laughed gently because he understood that she was afraid.


They—not Lance—were the ones who ended up in Asia, the last leg of a one-year trip through a host of hot countries. Matthew had graduated, finally, but Beth quit her program halfway through. Actually, she took a year off, but when she got out in the world and saw what was there, she could not go back. She had grown up in a small town in Wisconsin, and she understood only then that she had been about to exchange one small town for another: academia.

They had been together a year when they started their trip, but their relationship had never really entered the public realm, the realm of parties and shared errand-running, so Beth did not truly know who Matthew was out in the world. She learned on that trip that he talked to everyone. Using Thai or Spanish gleaned from guidebooks and taxi drivers, he conversed tirelessly about the weather and food, about where they were going and where they were from and whether they had children. Beth considered these questions either tedious or nobody’s business, often both, but Matthew did not see it that way. He was happy to tell people how much he loved rice, to say, over and over, that they were from New Mexico—“New Mexico. It’s in the United States.”—to explain that they had no children, yet. Matthew was at ease, in his body and in the world. Beth was not, but on the trip she learned to mime and gesture and even laugh at herself a bit.

One afternoon in Belize, four elderly Garifuna women lounging on a porch called to them as they passed in the street. Three of the women were large, but the fourth was as thin as a broom, and she sat slightly apart from the others, as though her thinness were something that they did not want to catch. The women were eating homemade fruit Popsicles, and Matthew immediately began flirting with the women, asking which of them might share. He pounded his chest to show he meant business, and the women laughed and told Beth that she had a handsome devil on her hands, waggling their fingers at her in warning.

“You two better come in and eat something,” said one of the fat women, and the four rose like a chorus about to sing.

It was the laugh of a man who was in love with her, who saw in her stiffness and reticence something exotic.

The women gave them rice and the leg of a stringy hen, with watermelon Popsicles for dessert. Later, they asked Beth and Matthew how young people danced these days up in their country, and Matthew pulled Beth up to demonstrate. The women clapped and sang, creating a rhythm that Beth willed her body to follow, and for a moment it seemed to, but the rhythm changed suddenly and her body went in the wrong direction. One of the women leaned forward and slapped Beth’s buttocks hard, while the others roared with laughter and shook their hands in front of their faces as though they had chili in their eyes. Matthew laughed also, a laugh that said, Buck up, four-eyes. This is life. Isn’t it great? It was the laugh of a man who was in love with her, who saw in her stiffness and reticence something exotic.


Mornings had always been their time as a couple, both before Darrin came along and after, for even as a baby, he had no interest in mornings. Sometimes she and Matthew leg wrestled—she got to use both legs—or Matthew brought her coffee in bed and the two of them sat propped against the pillows, talking quietly, wanting this time together, alone. What they had wanted, that is, was not to wake their son, and she wondered now how they could have ever done such a thing, plotted to have even one precious second less with him. But they had. They had reclined together in this same bed, giggling and covering each other’s mouths, saying, “Shhh, you’ll wake him.”

Other days Matthew woke up feeling loud. “I feel loud today,” he would say, loudly of course, and he would stand on the bed and sing one of the Bible camp songs from her childhood—“Shadrach, Meshach, Abednego, lived in Judah a long time ago. They had funny names, and they lived far away”—songs that she had taught him in the early days of their relationship when she was first learning to let go and be silly around another human being. Or he would lie on his back with his arms and legs straight up in the air like a dead cockroach and belt out old Carpenters tunes. “I’m on the top of the world,” he sang as though he really meant it, for that was the thing about Matthew: he was never sheepish about acknowledging his happiness, did not believe that happiness should be discussed only in terms that were ironic or self-deprecating. Eventually Darrin would come running in, begging to be flown around atop Matthew’s extended legs while Beth watched and laughed and tried hard not to picture their son slipping from her husband’s feet, tumbling through the air, his head crashing into a bedpost.

Now, she and Matthew got out of bed each morning, still exhausted, and said standard morning things like “How’d you sleep?” They rose and dressed and went into the dining room, where the night’s origami awaited them, sometimes a hundred cranes or giraffes, piled up on the table: a heap of wings, a heap of necks.


The first month, Darrin emailed them almost daily, sending pictures of all the things he knew would interest them: his sleeping quarters and meals, his work and the other students, the

people and buildings that made up his days. He ended his messages with easy declarations of his love for them because that was the way the world was set up now—easy access to communication, easy declarations of love—and Beth was grateful for both. He rarely wrote more than a few sentences, but she could hear his voice in these quick updates filled with enthusiastic adjectives, for he was like Matthew in this way also, never embarrassed by his ease with superlatives, by the way that he declared her spaghetti “the absolute best” and her “the most wonderful mother in the world” for making it.

It was during the second stop on the itinerary—collecting plants in Belize for medical research—that the girl began appearing in his photos. She was plump with wildly curly hair and a careful smile. Because it was his way, Matthew emailed Darrin, asking about her, and Darrin wrote back days later, saying only that her name was Peru.

“Peru? Were her parents hippies?” Matthew wrote, and Darrin replied, again after what seemed a deliberate delay, “Missionaries.”

This, his one-word response without explication, troubled them. Was she religious, they wondered, and if she was, what did that mean for their son? Would he return speaking a language that they did not understand, his conversation laced with earnest euphemisms like “witness” and “abundance”? After years of worrying—with Beth imagining all the ways that they could lose him and Matthew steadfastly refusing to imagine any—was this what it came down to, that their son could simply grow up to be a man they did not recognize?

“Well, please be sure to have safe sex,” Matthew wrote next.

“No need to worry” came back their son’s reply, an ambiguous response that they also discussed far into the night: Did it mean that he was not having sex, or that he was but the sex was safe? Or was it simply his way of telling them to stop worrying, of declaring his adulthood?


On the plane from Thailand, they each made a list: on the left, cities that seemed appealing, and on the right, cities that did not. They were heading home, but they had not yet determined where home would be. Somewhere over what Beth thought was the Sea of Japan, they decided on Minneapolis. Beth worried that they were making the choice based on the overwhelming memory of heat, a year’s worth, but Matthew said so what if they were. Weren’t most choices made as reactions to something else? They were in love, but traveling had taught them that they were also well matched: they knew how the other responded to crisis and boredom; they could live together in a very small space yet not grow distant. The trip had left them broke but had also taught them that they did not need much, and so they rented a tiny apartment in Saint Paul, which was cheaper than Minneapolis.

They were in a new city, both of them working at their first real jobs, Matthew as a high school English teacher and Beth as a newspaper caption writer. It was a job that she both liked and did well, for she had the ability to look at a photograph, feel at once the narrative sweep of it, and sum it up in a few precise words. Each night, they lay in bed talking, just as they had through ten-hour bus rides and bouts of stomach ailments. Matthew dissected his day, celebrating his students’ successes one minute and bemoaning their lack of curiosity the next. Mainly Beth listened, preferring to talk about her day when it had gone well, keeping the small frustrations, which were a part of any job, a part of life, to herself. She distrusted how emotions sounded when put into words, the way that words could reduce the experience to something unrecognizable. It was like reading descriptions of wine, she decided, for when she uncorked the bottle and took a sip, she never thought, Ah, yes, quite right, nutty and corpulent and jammy.


Matthew wanted to meet her family now that they were only three hours away. Beth felt that relationships worked best when families were not involved. Early on, she had told him the story of her father and his brother, wanting Matthew to know that she trusted him, but the story had left him keen to meet her father. He was like many fathers, she said by way of blunting his interest, quiet and largely absent. He worked as an accountant in an office containing a desk and a coffeepot, and what she remembered most from her rare visits to him there were the stacks of cashew canisters along one wall—empties on the left and full on the right, like debit and credit columns—and the way that her father bent over his ledgers, nibbling one nut at a time, brushing salt from the page before turning it.

Each evening he came home at six and the family sat down to dinner, a silent affair because their father wanted them to focus on chewing and swallowing and, especially, on not choking, goals from which talking and frivolity would surely distract. Then he returned to his office, where he stayed until midnight, balancing the books of farmers and beauticians and storekeepers, all of whom trusted her father to keep them safe from financial ruin.

One night when Beth had just turned seventeen, after she had done something stupid and teenager-like—taken the family car out on a muddy road and gotten stuck so that she missed her curfew by four whole hours—her mother came into her room, where Beth was sulking over her father’s overreaction, which involved a six-month grounding. Her mother sat on the edge of the bed and took one of Beth’s feet in her hands, holding it awkwardly because they were not a demonstrative family.

“Well,” said her mother, “it’s time you learned about Thomas.”

Thomas was her father’s younger brother. Until that night, Beth had not even known that her father had a brother. “When your father was a boy, just eight years old,” her mother began, “he and Thomas were sent out in the front yard to play one Sunday afternoon. Thomas was four, so it was your father’s job to keep him occupied for an hour or two while your grandparents read. At first they made a pile of leaves, planning to jump in it, but it was a windy day and the leaves kept blowing away, so they decided to play hide-and-seek.”

Her mother had paused here, but then went on to describe how, as her father crouched behind a shrub while Thomas turned in slow circles in the yard, a brown car pulled up to the curb and a man got out. “He looked kind,” Beth’s father later told the police, words that had brought his mother to her knees on their kitchen floor.

The man stood for a moment on the sidewalk on the other side of the low fence that enclosed their yard, Beth’s hidden father watching. It was this image—the triangulated gaze—that haunted Beth: her father looking at the man, who was looking at Thomas; Thomas, who was looking for her father.

“Say,” the man called to Thomas. “Are you the little boy who lives here, the one who likes marshmallows so much?” The man extended his arm and opened his fist: a marshmallow rested in his palm like a tiny pillow.

Thomas turned and stared at the man, then made another halfturn, surveying the yard, torn between hide-and-seek and marshmallows. “Yes,” he said to the man, and the man opened the front gate, walked in, and picked him up. Beth’s father stood up from behind the shrub; the man stared at him for a moment, the way a magician might stare at a rabbit that he had not meant to conjure. Thomas’s pant leg was hiked up to his knee, his calf plump and white, the man’s hand wrapped around it like that of a butcher assessing a particularly meaty shank. The man smiled as he took his hand briefly from Thomas’s calf to wave goodbye to Beth’s father.

In the events that followed—going into the house to alert his parents, describing the man for the police—Beth’s father quickly understood that everyone considered him old enough to have been suspicious of the man, so it was not until years later that he told Beth’s mother, confessing this for the very first time, that he had stepped forward not to stop the man from taking his brother but to say, “I like marshmallows, too.”

In her bedroom that night, Beth had promised her mother that she would never tell anyone about Thomas, especially not her siblings, and she never had, until Matthew. When Matthew finally did meet her parents, he was disappointed to find her father just as she had described, a man whose conversation and demeanor did not reflect a childhood of unspoken guilt. Instead, her father engaged Matthew in “men’s talk,” offering detailed explanations of the way that gadgets worked, which was precisely the sort of thing that Matthew hated.

“Say, I bet you haven’t seen one of these,” her father said, showing him the front door lock that he had installed when Beth was young. The lock resembled a rotary telephone, on which she and her siblings had dialed their way into the house. Their friends had all coveted the lock, but Beth and her siblings regarded it as a reproach, proof that their father did not trust them with keys. Their mother had claimed that he installed it because he could not bear the thought of them locked out, waiting in the yard, and only later did Beth understand that her mother was right.

Each time she dialed the lock with her brother and sister standing impatiently behind her, she wanted to tell them about Thomas, but she never did, and she wondered now whether this—maintaining a secret of such magnitude—was what had made her distant from her siblings. Lately, she found herself wanting to call them and confess, but she sensed in this impulse something selfish: she would be offering her father’s secret in order to obtain an audience for her own sorrow. In truth, she had no idea what she wanted from anyone now, except to be left alone.


When they had been in Saint Paul a year, Beth learned that she was pregnant, and they began hurtling down the slippery slope of adulthood. The wedding happened quickly, during their lunch breaks, but it took them months to find the right house. They toured a Victorian owned by an elderly couple, the Enquists, who had lived in it for forty-two years but were moving to North Platte, Nebraska, to be near their son, who owned a bar there. The Enquists wrinkled their noses as they spoke, as though something smelled bad—owning a bar, North Platte, being near their son. It was probably everything—the combined facts of leaving their home—but Beth and Matthew did not want to think about the old couple’s unhappiness because their own happiness demanded it. They knew that this was the house for them.

That night they were both too excited to sleep, so they lay curled up in bed together, attempting to inventory the house from memory, its closets and windows and electrical outlets. Finally Beth dozed off, awakening with a start when Matthew jumped up and down on the bed beside her, waving a piece of paper—an offer letter filled with embarrassingly intimate expressions of their love for the house and their desire to make love in the house. He had used words such as “enamored” and “smitten,” had described the appliances as “sexy,” the molding as “bewitching.” In closing, he had written, “We beseech you to accept our offer.”

She remembered even now—especially now—how she had

stared at Matthew, who looked strange in the predawn light, unfamiliar, how she had thought, not entirely at ease with the fact, This man is my husband.

Though she wanted to say, “These are old people. This is Minnesota. Don’t you want the house?” she said simply, “It’s a lovely letter, Matthew.” He smiled and bounced onto his knees on the bed. “I’ll take care of it,” she said, implying that she would deliver the letter, but at work that morning, in between captions, she rewrote it, stripping it down to the basics of money and time frames and expectations.

The baby that she was carrying inside of her, a boy whom they were planning to name Malcolm, never saw the inside of this house that they purchased for him, never hung his clothes in the closets that they had lain in bed tallying up, never got scolded for forgetting to do so. When Beth was six months pregnant, she stepped on a patch of ice on the sidewalk outside their new house and went down hard, trying to break her fall with her right arm. She was in the emergency room having her arm set when the bleeding began.

A year went by, a year during which they did not talk about children or pregnancies or the treachery of ice, but the following winter they broached the topic of having a child, another child, their conversations tentative, circling the subject, until one night Matthew took her hand and said, “Listen, I’ve been thinking that we should adopt. It’s selfish to think we need to re-create ourselves.” Beth felt the same way, but there was a part of her—a small part, but a part—that believed what Matthew was really saying was that he did not trust her to deliver a child safely into the world.

About Darrin’s origins they knew very little, except that he was Canadian. They went up to Winnipeg on a Tuesday, signed all sorts of forms, and drove home with him that evening, in the course of one day crossing borders and becoming parents. It was winter again, and Beth drove while Matthew sat in the back with Darrin, singing to him and reporting everything, every clenched hand and grimace, every aspect of their son’s face, so that by the time they got back to Saint Paul, they both knew him as intimately as if his features were their own.


She left her job because she wanted to have those first years with him, wanted to watch him sleep and to feed him sweet potatoes and pears that she chose from the bins at the produce stand and pureed in the blender, combing through the pap with a fork to find the chunks that he could choke on. She had imagined that she would go back to work when he was two, three at the latest, but by then she had come to realize what a minefield the world was—cords dangling tantalizingly within reach, furniture corners like Sirens wooing the most tender parts of him as he ran drunkenly through the house—and she couldn’t leave.

Sometimes, when fear overwhelmed her, she tried to pull back, to take a mental snapshot of the scene unfolding in front of her and produce a pithy line of text for it, and sometimes this even worked and she could see the events for what they were: small, happy moments. Boy, six, learns to ride bicycle without gouging out eye. Birthday boy blows out candles without igniting hair. Tuba player, fourteen, marches in parade without collapsing under the weight of instrument. She understood that an uneventful day was, in fact, the sum of the many moments that could have veered toward tragedy—but did not.

She understood that an uneventful day was, in fact, the sum of the many moments that could have veered toward tragedy—but did not.

Before she pricked potatoes for the oven, she sent Darrin off to his room. She didn’t want him getting ideas about forks. And if he was allowed to watch, she made a point of screaming “Ow!” each time she sank the fork into a potato. “He’s going to think you’re torturing it,” Matthew said as he stood in the kitchen one evening, drinking wine and observing this ritual. “Is that what you want?”

“It’s better than him stabbing himself with a fork,” she said, as though they had been presented with these two options for their son—sadism or masochism—and made to choose.

Their son spent hours stacking dominoes into neat piles, piles that he toppled explosively but with a giggle, enjoying the fickle sense of power that this stirred in him. Beth liked the dominoes also, not just their ability to enthrall her son but the sound that they made in doing so, the steady clicking like the beating of his heart. On the evening of his third birthday, as she closed the oven door on yet another set of wounded potatoes, she became aware of the house’s stillness and walked fast—running would only frighten him—down the hallway to Darrin’s room, where she found his dominoes stacked in orderly towers, but no Darrin. Him she found on the bathroom counter, kneeling in front of the open medicine cabinet, an empty bottle of shoe polish in his hands, the white polish that she had used to keep his baby shoes in order.

“Milk,” he said, smiling at her sweetly, white parentheses framing his mouth.

In the emergency room, after he had been made to vomit and the doctor assured them that he was fine, Darrin giggled while Matthew rubbed his belly like a magic lamp. Beth could not laugh, not even when Matthew said, “Look, Darrin. Mommy’s still wearing her apron.” Instead, she drew her coat around her tightly as though it had been pointed out that she was naked.

“Don’t you ever get worried?” she asked Matthew later, when the three of them were back home and she and Matthew were in bed, lying on the mattress that remembered the shapes of their bodies so perfectly that she thought maybe she had been silly to be that frightened.

“That’s your job,” he said, moving against her in the dark.

But later, after they had made love and fallen asleep, Matthew awakened her to say, “We guard him in our dif­ferent ways, you know. You keep him safe by visualizing every bad thing that could happen to him, as though—I don’t know—you think that you can control it somehow, contain it to your mind. But I can’t bear that, can’t bear living with those images, so my job is to pretend that the thought of them never even enters my mind.”

He began to sob, and she held him, thinking about the tenderness with which he had rubbed their son’s belly. “I know,” she said, for she did know. She understood that fear, like love, took many forms, that it did not have to manifest itself in just one way to be real, and Matthew lay beside her sobbing as though he were confessing an infidelity and not that he, too, loved their son so much that he could hardly bear it.


His emails became less frequent, less effusive, and they did not know whether this was because his girlfriend now commanded his attention or because he did not trust them to understand the details of his new life. In fact, they would never know. One morning when he had been gone six months, as they were drinking coffee and Matthew was singing in his loud, off-key voice, the phone rang.

“This is Peru,” whispered the voice on the other end.

“Peru?” said Beth.

“I’m one of your son’s teachers. On the trip?”

“His teacher?” Beth said. “I don’t understand.”

“Oh my God,” said the woman, for Beth thought of her that way now—as a woman. “I can’t do this.” She began to sob.

“Hello?” said Beth, but the sobbing grew distant.

“What is it?” Matthew asked, standing up from the table and coming over to her. Beth shook her head.

A man came on the line then, another teacher, who identified himself as Rob. This man Rob explained to her that their son was dead, electrocuted in the swimming pool of their hotel in Chiang Mai just a few hours earlier. “The students were finished giving English lessons for the day, and Darrin and a few of the other guys were in the pool having a beer.” He paused. “An electrical box fell into the water.”

Rob waited for her to speak. She wanted to ask, “Why were eighteen-year-olds drinking beer?” and, “Why was there an electrical box above the pool?” and, most of all, “Why was my son sleeping with one of his teachers?” But in the end she said only, “And the other boys?”

“They’re okay. Darrin was closest to the box,” said this stranger, Rob. “Listen, if it’s any comfort, the doctor said that he died instantly.”

It was not a comfort. How could there be comfort in the word “instantly,” in any word that meant her son had lived even one second less on this earth?

Matthew took the telephone then. She was vaguely aware of him discussing details, two men taking care of business, but then he said, “No, I’m coming for him,” and everything about Matthew—his voice, his body, his heart—seemed to break into pieces right in front of her.

He told her that he could go to Thailand alone, but she would not hear of it: they had picked up their son together at the beginning of his life, and she would not consider doing any less at the end. She explained this as she wiped off the counters and washed out their coffee mugs, but when she turned, looking for the dish towel, she saw that Matthew was sitting at the table wearing it over his head like a small tent into which he had disappeared to be alone with his grief.


They did not tell anyone that they were going, except for the cat sitter, to whom they said only that there was an emergency in Thailand. Beth knew that she should call her parents, but she remembered the way that the conversation about Thomas had ended all those years ago. “Did they ever find him?” Beth had asked, meaning did they find a body, for she understood that nobody had ever seen Thomas alive again. “No,” her mother had said. “And let me tell you, for a parent, not knowing has got to be the worst thing.” Beth knew now that her mother had been wrong, that there was something far worse than not knowing—and that was knowing that her son lay, unequivocally dead, in a hospital somewhere in Thailand.

Later, after they had booked a flight, they went into the bedroom and began to pack, their suitcases lying open at the foot of the bed like two giant clams. They had not spoken of their individual conversations with Rob, had not compared notes in order to create a complete account of their son’s death. They had not talked of anything but the logistics of getting to Thailand, of getting their son home.

“Why was he drinking?” she asked Matthew, hurling the question at his back as he filled his own suitcase, and then, “I want this woman arrested. I want her to pay.”

Beth lay down on the bed, placing her feet inside her own halfpacked suitcase, and began to cry.

Matthew sat beside her, holding his hand to her cheek. “We need to take comfort in knowing that his last days, his last minutes even, were happy ones,” he said.

He sounded like a minister or a therapist, someone schooled in the art of discussing other people’s pain, and she wanted to tell him so, wanted to say, “You see?” for she had been right all these years and now he was proving it, proving how inadequate words were.


The final punch in Beth’s falling-in-love card had come in Thailand, at the end of their hot-countries tour. They flew from Jakarta to Malaysia, spending an afternoon in Kuala Lumpur before getting on the night train. In Thailand they bought tickets for a ferry that would shuttle them out to an island whose name Beth could no longer recall; the ticket sellers had considered demand but not supply in offering the tickets, and when the ferry began to load, it was clear that there were not enough seats.

“Next ferry tomorrow,” called out one of the young ferry workers, blocking the gangplank, but he gestured at the flat, empty roof of the boat to indicate that it was an option.

“Let’s do it,” Matthew said. Already, disappointed travelers had begun to jump from the dock down onto the ferry’s roof.

“Absolutely not,” she said. “Have you not heard of something called ‘weight capacity’?”

Matthew bent as though to kiss her but instead bit her nose, hard.

“Ow!” she cried out, and he laughed and tossed their backpacks onto the roof of the ferry, leaping down after them and turning to offer his hand. Nearly since they met, Matthew had been declaring his love, to which she always replied, “Good Lord,” or “Heavens,” intentionally prim responses that made both of them laugh and bought her time, but when she jumped down beside him that day, they both knew that she was nearly there.

The last punch happened two days later on a snorkeling trip with thirteen other tourists. She remembered the other passengers well: a young British woman who vomited uncontrollably and several French boys who laughed at her until Matthew explained to them that they were not helping matters, sounding so reasonable that the boys stopped immediately. There were Germans and a family from Brazil, about whom she had wondered why they would come this far to be in another hot, wet place. Three Thai boys ran the boat, one driving and the other two tending to the passengers’ needs, bringing the vomiting woman a pail, picking the Brazilian children up and pretending they were going to toss them overboard. They said nothing to Beth, though they made small talk with Matthew, asking whether he liked to fish and how much his watch had cost. The driver multitasked as he drove, eating and turning to joke with the other two, even pulling his T-shirt off over his head—all without slowing down. He struck her as the sort of young man who would only become more reckless when presented with fear, particularly a woman’s, so she said nothing, her face set to suggest calm, though Matthew, who knew better, rested his hand on her knee.

It took them nearly two hours to reach the cove. They were supposed to spend the day there, but around one, the young Thai men began to round everyone up, pointing at the ocean, which had become a roiling gray, and at the dark clouds suspended over it. They departed hastily, a forgotten snorkeling mask bobbing near the shore behind them.

That morning, everyone had conversed happily in English, but the storm made them nationalistic, each group reverting to its own language. The waves grew higher, the passengers quieter, and when they hit a particularly big wave, everyone flew up in the air and came down hard, landing atop one another and making a collective “umph” of surprise and fear. The two Thai stewards pointed into the distance, where an object bobbed on the waves, and as they got nearer Beth could see that it was a boat filled with the same configuration of young Thai men and tourists, except this boat was not moving forward, bucking the waves; it rose and fell listlessly while the people on board screamed and waved their arms.

On Beth’s boat the two stewards huddled around the driver, who had been so cocky speeding across the water that morning but now looked tired and very young. They were arguing, she knew, and the driver finally wrenched the wheel, turning their boat toward the stranded one.

“We can’t take everyone,” called out one of the Germans, a woman who had refused to stop smoking even as her lit cigarettes pocked the arms and legs of those around her each time the boat hit a wave, “or we will all die.” She said it in English, the w’s becoming dramatic v’s, and then she took a long drag on her cigarette and glared.

At first, nobody spoke, and then Matthew said, “Look, there’s room.” He wiggled closer to Beth, and the others followed his example. The driver maneuvered their boat parallel to the stranded one, and a steward from that boat, a young man—they were all so young!—with an owl tattoo on his left bicep, instructed the men to link hands across the water.

“Why don’t we tie the boats?” asked one of the French boys, and the steward explained that they needed to break free quickly when a big wave came or the two boats might be slammed together and destroyed.

Only then did the passengers on the stranded boat seem to realize what was expected of them: that they were to perch on the edge of their boat as it lurched beneath them and then leap across the gap to safety. A few cried, but one by one they jumped, collapsing into the arms of those on the other side. Every few minutes, someone called out “Wait!” or “Quickly!” and the men dropped hands and let the boats surge apart.

On the deck of the other boat sat a woman flanked by two young children, a baby in her lap. She was dressed as though for a job interview, and atop her bosom a large cross bounced. She screamed at her husband in what sounded like Swedish, and though Beth did not know Swedish, she knew what the woman was saying. When the husband grew tired of pleading with her, he picked up the oldest child and carried him over to the side, where he stood for a moment, lips moving, before leaning out over the churning water with his son and letting him go into the hands of the French boys on the other side.

He did the same with the second child, but when he reached for the baby, the mother would not let go. “No, we will die here together,” she screamed, in English this time because she wished to include everyone in her terror. After her husband had pried the baby loose, she sat with her head in her hands, refusing to look as her husband leaned out for the third time, offering the baby, their baby, into the outstretched arms of the French boys. As he let go, a giant wave flung the boats apart, the clasped hands slipping from one another like sand.

Later, the father, sobbing, would say that he had heard King Solomon whispering in his ear, “Let go of your son.” As he told this story, the baby rested in his arms, mother and siblings on either side, a family reunited. Beth sat beside Matthew, who looked sheepish yet pleased by the rounds of applause in his honor, for in that half second after the baby had been released, Matthew’s hand shot into the gap and caught him by his chubby leg. Even as the boat bucked mightily, he held on, held on as though nothing but life were possible.


Lying in their bed listening to Matthew fold origami night after night, Beth does not cry. Crying happens during the day, when every sight and sound reminds her of Darrin: the hole in the wall from an arrow that he had not meant to release; the creak of the refrigerator door; the tubes of toothpaste in a brand that only Darrin liked, sitting in a drawer unused, useless. Today, she goes into his room and vacuums for the first time since he left a year and a half ago. When she is finished, she panics and rips the vacuum bag open on the hallway floor outside his room, sifts through the compressed pile of dirt and dust, looking for something—a hair, a thread from a favorite shirt, a sliver of dead skin, a fingernail chewed off and spit onto the carpet, the lint from between his toes. Some piece of him.

She falls asleep there on the floor, curled up around the vacuum bag as though it were Gertrude, their cat. When she awakens she does not open her eyes right away, but she knows time has passed, can tell that the sun has shifted and is about to disappear. She knows also that someone is sitting beside her. Matthew. She can feel the weight of his hand on her calf. They have not touched like this since before the phone call from Thailand, touched in a way that is not about passion—though there has been none of that either—or practicality, passing the salt and emptying the dishwasher, but that is simply about the intimacy of every day. Then, as though Matthew senses that she is awake, his hand is gone.

“You think I drove him away,” she says softly. “That I worried too much.” Her eyes are still closed. She hears him breathing and finally the slight intake that means he is about to answer.

“No,” he says. He sounds tired, all those nights of sitting up, folding origami. “I don’t think that.” He pauses, sighs. “The truth is that I don’t think at all. I teach, and I grade papers, and I smile at the other teachers to let them know that it’s okay when I catch them laughing. I stop and put gas in the car on the way home from school every Friday.”

In her pocket are the pieces of Darrin that she picked out of the vacuum cleaner bag—a curly black hair that could only be his and some dried mud he’d dragged in from an all-night graduation party. She knows that if she opens her eyes, she will see Matthew rubbing his scar, as he does when he is thinking, the scar that she had asked him about all those years ago in the gay bar the night they met, when he told her about the bliss of riding his bicycle down the road wearing magnifying-glass spectacles, the world so close, so deceptive. “Have you spoken to Lance?” she asks, because she cannot think of that night without Lance.

“I talked to him last week,” he says. She thinks about the last year, how she knows nothing of what her husband’s days have entailed—lunches eaten, books read, people talked to.

“How is he?”

“Lance is Lance,” he says. “He’s still in Albuquerque, still waiting for the perfect Asian man to come along, still counting inventory, if you can believe it. He sends his love.”

She never understood Lance—with his degree in political science—counting cans at Albertsons. She recalls all the times that she and Matthew, smug in their own lives, offered commentary on Lance’s, saying things like “How’s he going to meet someone when he spends his life aspiring to nothing more than counting inventory?”

“Poor Lance,” she says, and she means it, but then it occurs to her that she no longer has the right to feel sorry for Lance, Lance who wants more than anything to meet someone, to settle down and just be together.

“He’s pretty amazing, though,” Matthew says. “He can walk into a 7-Eleven, look around, and predict within two hundred dollars how much merchandise they have on hand.”

“I guess that’s why he stays,” Beth says.

“What do you mean?” Matthew says.

“To have that kind of certainty,” she says. Her eyes are still closed.

“Or that kind of fear,” Matthew adds and then falls silent.

The day of the funeral, Matthew’s hands rested atop their son’s coffin, side by side, as though the coffin were a piano that he would soon begin to play. His hands were what had first attracted her all those years ago, the unchewed nails and the veins rising up across the backs. They had seemed at once sexy and capable. She remembers how they came from nowhere that day at sea, grabbing the baby from the gap, and how she had mistaken this as a sign of how their lives would always be.

She begins to sob, quietly at first, but then more loudly, and she waits for Matthew to say something, to try for the right words. “He was the absolute best,” she says finally. “The A1 most amazing son in the world.”

Matthew laughs, and the sound startles her here in their silent house. She feels his hand on her ankle, tentative but holding on. She does not know whether it is pulling her down or up toward the surface, but she opens her eyes and does not move away.

Predicting the 2025 Pulitzer Prize for Fiction (and How to Watch It Live!)

The year that was has made its artistic judgments. Mostly. The world of film declared Anora as Best Picture. Music selected Beyonce’s Cowboy Carter as Album of the Year. Now, finally, on May 5th, book world gets its big moment. On Monday, at 3:00 p.m. EST, the award ceremony will be live streamed here. Pulitzer time is here!

As most of us book-loving folks know, there are a lot of book awards. The Pulitzer, however, is the one that seems to get the most attention. For a brief moment, with the announcement fresh, it’s like the world takes a break and celebrates books. For me, that kind of literary attention is a definite good thing—well, a definite great thing.

Some past winners include titles that I’ll always look forward to revisiting. I’m thinking of Gilead, The Amazing Adventures of Kavalier & Clay, Beloved, Lonesome Dove, Olive Kitteridge, and Demon Copperhead. These are just a few. 

Certain years bring total surprises that few could have predicted. For example, 2012 offered the huge shock of the winner being no one. Seriously, what a day that was. And, very recently–just in 2023—who predicted we would have two winners, Hernan Diaz’s Trust and Barbara Kingsolver’s Demon Copperhead

Other years have awarded the absolute and undeniable juggernaut. All the Light We Cannot See, The Goldfinch, and The Underground Railroad come to mind as contemporary examples. 

While it’s challenging to predict the annual Pulitzer Prize for Fiction winner, it’s honestly a lot of fun. 

Per my usual, in compiling this prediction list, I’ve tried my best to stay away from my own opinions in determining 2024’s literary bests, which is why you won’t see my personal favorite fiction books of the year—Grey Wolfe LaJoie’s Little Ones, Marguerite Sheffer’s The Man in the Banana Trees, Jen Fawkes’ Daughters of Chaos, Patrick Thomas Henry’s Practice for Becoming a Ghost, or Simon Van Booy’s Sipsworth–included below. Instead, I stick to previous awards, critics’ thoughts, buzz, and good old Bradley Sides intuition in guiding these predictions.

In order from long shots to shoe-ins, below are my predictions for the 2025 Pulitzer Prize for Fiction: 

10: Creation Lake by Rachel Kushner

Kushner’s latest is a spy novel with a nice dose of humor. That description might not sound like the usual kind of thing the Pulitzer folks go for, but don’t be surprised if Creation Lake shows up on announcement day. Kushner is brilliant, and this novel has already been shortlisted for the Booker and longlisted for the National Book Award. Plus, it’s on numerous “best of” lists. 

9: Craft: Stories I Wrote for the Devil by Ananda Lima

2009 was the last time a short story collection won, but another one has to take home the Prize at some point, and speculative titles seem to be getting more and more attention these days with literary awards. Maybe now is the time… Lima’s delightful and creative debut collection had a breakout kind of year (and was excerpted in Recommended Reading!). Kelly Link praised it, and the book received glowing recommendations from The New York Times, Publishers Weekly, and more. 

8: Beautyland by Marie-Helene Bertino

Bertino’s novel about home and belonging hit shelves soon after 2024 began, and it’s stayed a popular title since then, which proves just how much readers love it. It was a finalist for the National Book Critics Circle Award for Fiction, and it made “best of” lists at Literary Hub, Book Riot, The New York Times, and more. It was also excerpted in Recommended Reading!

7: Wandering Stars by Tommy Orange

Orange was a finalist for the Pulitzer in 2019 with his debut There There. Now, he’s back in major contention again with Wandering Stars, a book that follows the legacy of trauma. Orange’s novel packs incredible power, and it’s an important one. It’s received wide, wide praise from critics and readers alike. Among other accolades, it was longlisted for the 2024 Booker Prize, and it was shortlisted for the Aspen Words Literary Prize.

6: The History of Sound by Ben Shattuck

A time-spanning book of stories, The History of Sound is one of the most-loved collections of 2024. It recently won The Story Prize Spotlight Award, was longlisted for the Andrew Carnegie Medal for Excellence in Fiction, and received recognition from NPR, Kirkus, and more.

5: There is a Rio Grande in Heaven by Ruben Reyes Jr.

While there are three story collections on my list, There is a Rio Grande in Heaven is the one that is most likely to go all the way. The stories here are fantastic and fantastical, and there’s so much emotion in these pages. It’s the kind of collection you put away and find yourself going back to. The book has received much recognition, including being longlisted for the Andrew Carnegie Medal for Excellence in Fiction and the PEN/Faulkner Award. It was also a finalist for The Story Prize.

4: My Friends by Hisham Matar

Matar won the 2017 Pulitzer Prize in Biography for The Return: Fathers, Sons, and the Land in Between, and he is in absolute contention for the Prize in this year’s Fiction category. My Friends explores family and friendship, and the novel has received many accolades, including being a finalist for the National Book Award and winning the National Book Critics Circle Award. 

3: Two-Step Devil by Jamie Quatro

I know I said I try to keep my own opinions out of my list, but I can’t help myself with this one. Two-Step Devil is utterly brilliant and BOLD in regard to prose and in story, taking on issues such as God, loss, and mental illness. Quatro would have been a deserving winner already with either of her two previous books, but she’s at her best in her latest Southern Gothic masterpiece. The book won the Willie Morris Award for Southern Writing (Fiction) and has received praise from, among others, The New York Times, The Paris Review, and Atlanta Journal Constitution. It’s hard to imagine Quatro not showing up as a finalist. 

2: Martyr by Kaveh Akbar

Martyr is one of those novels that everyone seems to be talking about. It’s a special one, indeed. Full of love and humor and hurt, it’s received wide praise and would make a fantastic Pulitzer winner. It’s already been shortlisted for the National Book Award and been recognized by Time, The New York Times, and many (many, many) more. You can get a taste by reading an excerpted in Recommended Reading! I would say this one is our most likely winner, but there’s one other book you might’ve heard of…

1: James by Percival Everett

Everett certainly had a memorable year with James, a brilliant reimagining of Mark Twain’s Adventures of Huckleberry Finn. This book has been everywhere! And I mean it. It won the National Book Award. It won the Kirkus Prize. Barnes & Noble picked it as 2024’s best. It won the Andrew Carnegie Medal for Excellence in Fiction. It took home the Rooster in this year’s Tournament of Books. It was shortlisted for the Booker. It was a finalist for the National Book Critics Circle Award. It made countless “best of” lists. Readers and critics love it. James seems like our winner. We’ll know for sure very soon…