The Patron Saint of Healers, Whores & Righteous Thieves

“Elegy to Gabrielle”

by Kelly Barnhill

Curator’s note: The following pages were found in a cave on an islet eleven miles southwest of Barbados. The narrative is, of course, incomplete, disjointed, and unreliable, as is the information contained within its pages. There is no record of Brother Marcel Renau living in the Monastery of the Holy Veil during the years in question. There is a record of the order for the execution of a Gabrielle Belain in St. Pierre in 1698; however, no documentation of the actual execution exists. Some of this narrative is indecipherable. Some is lost forever. Most, if not all, is blatantly untrue, the ravings of a lost sailor gone mad without water. As to the conditions in which these writings were found: this too remains a puzzle. The cave was dry and protected and utterly empty except for three things: a human skeleton, curled in the corner as though sleeping; a two-foot length of human hair, braided tightly with a length of ribbon and a length of rope, laid across the hands of the dead man; and an oiled and locked box made of teak, in which these documents were found. Across the lid of the box the following words had been roughly scratched into the wood, as though with a crude knife or a sharp rock: “Bonsoir, Papa.”

Two days before Gabrielle Belain (the pirate, the witch, the revolutionary) was to be executed, a red bird flew low over the fish market, startling four mules, ten chickens, countless matrons, and the Lord High Constable. It flew in a wide spiral higher and higher until it reached the window of the tower where my beloved Gabrielle awaited her fate. People say that she came to the window, that the shadows from the bars cut across her lovely face. People say that she reached out a delicate, slightly freckled hand to the bird’s mouth. People say that she began to sing.

I stood in the hallway with the two guards, negotiating the transfer of food, water, and absolution across the threshold of the wood and iron door that blocked Gabrielle from the world. I did not see the bird. I did not hear song. But I believe them both to be real. This is the nature of existence: We believe, and it is. Perhaps God will turn His back on me for writing such heresy, but I swear it’s the truth. Gabrielle, like her mother before her, was a Saint Among Men, a living manifestation of the power of God. People believed it, therefore it was true, and no demonstration of the cynical power of bureaucrats and governments and states could unbelieve their believing.

Gabrielle Belain, at the age of ten, walked from the cottage where she lived with her mother past the Pleasure House to the shore. The moon, a thin slash on a glittering sky, cast a pale light on the foamy sand. She peered out onto the water. The ship, hidden in darkness, was still there, its black sails furled and lashed to the tethered boom, its tarred hull creaking in the waves. She could feel it. Actually, there was never a time when she could not feel it. Even when it was as far away as Portugal or Easter Island or the far tip of the continent, she knew where the ship was. And she knew she belonged to it.

Four porpoises bobbed in the waves, waiting for the child to wade in. They made no sound, but watched, their black eyes flashing over the bubbling surf. A mongrel dog, nearly as tall as the girl, whined piteously and rubbed its nose to her shoulder.

“You can’t come,” she said.

The dog growled in response.

Gabrielle shrugged. “Fine,” she said. “Please yourself. I won’t wait for you.” She waded in, caught hold of a porpoise fin, and swam out into the darkness, the dog paddling and sputtering behind her.

The sailors on the quiet ship watched the sky, listened to the wind. They waited. They had been waiting for ten years.

By the time Gabrielle was thirteen, she was the ship’s navigator. By the time she was fifteen, she was captain, and a scourge to princes and merchants and slave traders. By the time she was eighteen, she was in prison — chained, starved, and measured and weighed for hanging.

At night, I see their hands. I do not see their faces. I pray, with my rattling breath, with the slow ooze of my blistered skin, with my vanishing, worthless life, that I may see their faces again before I die. For now, I must content myself with hands. The hands of Gabrielle, who thwarted governors, generals, and even the king himself, and the hands of her mother, who healed, who prayed, and God help me, who loved me. Once. But oh! Once!

Gabrielle’s mother, Marguerite Belain, came from France to Martinique in the cover and care of my order as we sailed across the ocean to establish a new fortress of prayer and learning in the lush, fragrant islands of the New World. It was not our intention to harbor a fugitive, let alone a female fugitive. We learned of Marguerite’s detention through our contacts with the Sisters of the Seventh Sorrow, several of whom waited upon the new and most beloved lover of the young and guileless king. Although the mistress had managed to bear children in her previous marriage, with the king she was weak-wombed, and her babes flowed, purple and shrunken, into her monthly rags with much weeping and sorrow in the royal chambers. Marguerite was summoned to the bed of the mistress, her womb now quickening once again.

“Please,” the mistress begged, tears flowing down those alabaster cheeks. “Please,” she said, her marble mouth, carved always in an expression of supercilious disdain, now trembling, cracking, breaking to bits.

Marguerite laid her hands on the belly of the king’s beloved. She saw the child, its limbs curled tightly in its liquid world. The womb, she knew, would not hold. She saw, however, that it could, that the path to wholeness was clear, and that the child could be born, saved, if certain steps were taken immediately.

But that was not all she saw.

She also saw the child, its grasping hands, its cold, cold eye. She saw the child as it grew in the seat of authority and money and military might. She saw the youth who would set his teeth upon the quivering world and tear upon its beating heart. She saw a man who would bring men to their knees, who would stand upon the throats of women, whose hunger for power would never cease.

“I cannot save this child,” Marguerite said, her leaf green eyes averted to the ground.

“You can,” the mistress said, her granite lips remaking themselves. “And you will.”

But Marguerite would not, and she was duly imprisoned for the duration of the pregnancy, until upon the birth she would be guillotined as a murderess if the child did not live and as a charlatan if it did.

It did not. But it did not matter: Marguerite had been spirited away, disguised in our habit and smuggled onto our ship of seafaring brethren before the palace ever did turn black with mourning.

I helped her escape, my Brothers and I. I placed our rough robes over those blessed shoulders, and helped her to wind her hair into the darkness of the cowl. I pulled it low over her face, hiding her from the world, and took her hand as we hurried through the city’s underground corridors, never stopping until we made it to the harbor, and hid her in an empty wine barrel on our ship. I told myself that the thudding of my heart was due to the urgency of our action. I told myself that the hand that I held in my hand was beloved because we are all beloved by God. To be human is to lie, after all. Our minds tell lies to our hearts and our hearts tell lies to our souls.

It was on the eighteenth day of our voyage that Marguerite gave me leave into her chamber. It was unasked for and yet longed for all the same, and came to me the way any miracle occurs — in a moment of astonishment and deep joy. On that same day — indeed, that same moment — a storm swirled from nowhere, sending the wind and sea to hurl themselves against the groaning hull, and striking the starboard deck with lightning.

Was it the feeble lover, I wondered, or the lightning that produced such a child when she bore a babe with glittering eyes?

Gabrielle. My child. I am supposed to say the issue of my sin, but I cannot. How can sin produce a child such as this?

On the morning of the forty-first day, a ship with black sails appeared in the distance. By noon we could see the glint of curved swords, the ragged snarl of ravenous teeth. By midafternoon, the ship had lashed itself to ours and the men climbed aboard. In anticipation of their arrival, we set food and drink on the deck and opened several — although not all — of our moneyboxes, allowing our gold to shine in the sun. We huddled together before the mainmast, our fingers following prayer after prayer on our well-worn rosaries. I reached for Marguerite, but she was gone.

A man limped from their ship to ours. A man whose face curled in upon itself, whose lashless eyes peered coldly from a sagging brow, whose mouth set itself in a grim, ragged gash in a pitiless jaw. A mouth like an unhealed wound.

Marguerite approached and stood before him. “You are he,” she said.

He stared at her, his cold eyes widening softly with curiosity. “I am,” he said. He was proud, of course. Who else would he be? Or, more importantly, who else would he desire to be? He reached for the cowl that hid the top of her head and shadowed her face and pulled it off. Her hair, the color of wheat, spilled out, poured over the rough cloth that hid her body from the world, pooled over her hands, and around her feet. “And you, apparently, are she.”

She did not answer, but laid her hands upon his cheeks instead. She looked intently into his face, and he returned her gaze, his hard eyes light with tears. “You’re sick,” she said. “You have been for . . . ever so long. And sad as well. I cannot heal the sadness, but I can heal the sickness. He too suffers.” She pointed to the pockmarked man holding a knife to the throat of our beloved Abbot. “And he, and he.” She pointed to other men on the ship. Walking over to the youngest man, who leaned greenly against the starboard gunnels, she laid her hand on his shoulder. “You, my love, I cannot save. I am so sorry.” Tears slipped down her cream and nutmeg skin. The man — barely a man, a boy, in truth — bowed his head sadly. “But I can make it so it will not hurt.” She took his hand, and squeezed it in her own. She brought her pale lips to his smooth brown cheek and kissed him. He nodded and smiled.

Marguerite ordered a bucket to be lowered and filled with seawater. She laid the bucket at the feet of the captain. Dipping her hands in the water, she anointed his head, then his hands and his feet. She laid her ear upon his neck, then his heart, then his belly. Then, scooping seawater into her left hand, she asked the pirate captain to spit into its center. He did, and immediately the water became light, and the light became feathers, and the feathers became a red bird with a green beak who howled its name to the sky. It flew straight up, circled the mainmast, and spiraled down, settling on the captain’s right shoulder.

“Don’t lose him,” she said to the captain.

In this way she healed those who were sick, and soothed the one who was dying, giving each his own familiar: a one-eared cat, an air-breathing fish, a blue albatross, and a silver snake.

When she finished, she turned to the captain. “Now you will return to your ship and we will continue our journey.”

The captain nodded and smiled. “Of course, madam. But the child in your womb will return to us. She was conceived on the sea and will return to the sea. When she is old enough we will not come for her. We will not need to. She will find us.”

Marguerite blinked, bit her lip so hard she drew blood, and returned to the hold without a word. She did not emerge until we made land.

Our brethren that had preceded us met us on the quay and led us to the temporary shelters that crouched, like lichen, on the rock. That the new church with its accompanying cloister and school were unfinished, we knew. But the extent of the disorder was an unconcealed shock to all of us, especially our poor Brother Abbot, whose face was stricken at the sight of the mossy stones upon the ground.

Brother Builder hung his head for the shame of it. “This is a place of entropy and decay,” he muttered to me when the Abbot had gone. “Split wood will not dry, but erupts with mushrooms, though it has heated and cured for days. Cleared land, burned to the ground, will sprout within the hour with plants that we cannot identify or name — but all our seeds have rotted. Keystones crack from the weight of ivy and sweet, heavy blossoms that were not there the night before. The land, it seems, does not wish us to build.”

The Abbot contacted the Governor, who conscripted paid laborers at our insistence — freemen and indentured, Taino and grim-faced Huguenots — to assist with the building, and soon we had not only church and cloister, but library, bindery, stables, root cellars, barrel houses, and distilleries.

Desperately, I hoped that Marguerite would be allowed to stay. I hoped that the Abbot would build her a cottage by the sea where she could keep a garden and sew for the abbey. Of course, she could not. The Abbot gave her a temporary shelter to herself, forcing many of the brethren to squeeze together on narrow cots, but no one grumbled. At the end of our first month on the island, she left without saying good-bye. I saw her on the road as the sun was rising, her satchel slung across her back. Her hair was uncovered and fell in a loose plait down her back, curling at the tops of her boots. I saw her and called her name. She turned and waved but said nothing. She did not need to. The sunlight bearing down on her small frame illuminated at last that to which I had been blind. Her belly had begun to swell.

Gabrielle was born in the vegetable garden that separated the Pleasure House from the small cottage where Marguerite lived and worked. Though the prostitutes gave her shelter in exchange for her skills as a cook, a gardener, and a healer, it soon became clear that her gifts were greater and more numerous than originally thought. As Marguerite’s pregnancy progressed, the gardens surrounding the Pleasure House thrived beyond all imaginings.

Guavas grew to the size of infants, berries spilled across the lawns, staining the stone walkways and steps a rich, dark red, like blood coursing into a beating heart. Vines, thick and strong as saplings, snaked upward along the whitewashed plaster, erupting in multi-colored petals that fluttered from the roof like flags.

Marguerite, when the time came, knelt among the casaba melons and lifted her small hands to the bright sky. Immediately, a cloud of butterflies alighted on her fingers, her heaving shoulders, her rivers of gold hair, as the babe kicked, pressed, and slipped into the bundle of leaves that cradled her to the welcoming earth.

The girls of the Pleasure House saw this. They told the story to everyone. Everyone believed it.

After Gabrielle was born, Marguerite scooped up the afterbirth and buried it at the foot of the guava tree. The girls of the Pleasure House gathered about her to wash the baby, to wheedle the new mother to bed, but Marguerite would not have it. She brought the baby to the spot where the placenta was buried.

“You see this?” she said to the baby. “You are rooted. Here. And here you will stay. The captain can believe what he will, but you are not a thing of water. You are a child of earth. And of me. And I am here.” And with that she went inside and nursed her baby.

Though I assume it was well known that the babe with glittering eyes was the product of the one time (but oh! Once!) that Marguerite Belain consented to love me, we had chosen to believe that the child was a miracle, conceived of lightning, of sea, of the healing goodness of her mother. And in that believing, it became true. Gabrielle was not mine.

For months, the Abbot sent a convoy of monks to the little cottage behind the Pleasure House to argue in favor of a baptism for the child. Marguerite would not consent. No water, save from the spring that bubbled a mile inland, would touch Gabrielle. She would not bathe in the sea. She would not taste or touch water that came from any but her mother’s hand.

“She will be rooted,” she said. “And she will never float away.” After a time, the girls of the Pleasure House emerged to shoo us off. They had all of them grown in health and beauty since Marguerite’s arrival. Their faces freshened, their hair grew bright and strong, and any whiff of the pox or madness or both had dissipated and disappeared. Moreover, their guests, arriving in the throes of hunger and lust, went away sated, soothed, and alive. They became better men. They were gentler with their wives, loving with their children. They fixed the roof of the church, rebuilt the washed-out roads, took in their neighbors after disasters. They lived long, healthy, happy lives and died rich.

Gabrielle Belain was never baptized, though in my dreams, I held that glittering child in my arms and waded into the sea to my waist. In my dream, I scooped up the sea in my right hand and let it run over the red curls of the child that was mine and not mine. Mostly not mine. In my dream, a red bird circled down from the sky, hovered for a moment before us, and kissed her rose-bud mouth.

When Gabrielle was six years old, she wandered out of the garden and down the road to the town square. Her red curls shone with ribbon and oil, and her frock was blue and pretty and new. The girls of the Pleasure House, none of whom bore children of their own, doted on the child, spoiling her with dresses and hats and dolls and sweets. To be fair, though, the girl did not spoil, but only grew in sweetness and spark.

On the road, Gabrielle saw a mongrel dog that had been lamed in a fight. It was enormous, almost the size of a pony, with grizzled fur hanging about its wide, snarling mouth. It panted under the star apple tree, whining and showing its teeth. Gabrielle approached the animal, looked up at the branches heavy with fruit, and held out her hand. A star apple, dark and smooth, fell neatly into her little hand, its skin already bursting with sweet juice. She knelt before the dog.

“Eat,” she said. The dog ate. Immediately, it stood, healed, nuzzled its new mistress, shaking its tail earnestly, and allowed her to climb upon its back. In the market square, people stopped and stared at the pretty little girl riding the mongrel dog. They offered her sweets and fruits and bits of fabric that might please a little child. She came to the fishmonger’s stall. The fishmonger, an old, sour man, was in the middle of negotiating a price with an older, sourer man, and did not notice Gabrielle. A large marlin, quite dead, leaned over the side of the cart, its angled mouth slightly open as though attempting to breathe. Gabrielle, a tender child, put her hand to her mouth and blew the fish a kiss. The fishmonger, satisfied that he had successfully bilked his customer out of more gold than he had made all the week before, looked down and was amazed to see his fish flapping and twisting in the rough-hewn cart. The marlin leapt into the air and gave the customer a sure smack against his wrinkled cheek, before hurling itself onto the cobbled path and wriggling its way to the dock. Similarly, the other fish began to wiggle and jump, tumbling and churning against each other in a jumbled mass toward freedom. People gawked and pointed and gathered as the fishmonger vainly tried to gather the fish in his arms, but he had no idea what to do without the aid of his nets, and his nets were being mended by his foulmouthed wife in their little hovel by the sea.

Gabrielle and her dog, realizing that there was nothing more to see, moved closer to the fine house and tower that served as the Governor’s residence and court and prison. To the side of the deeply polished doors, carved with curving branches and flowers and images of France, was the raised dais where men and women and children in chains stood silently, waiting to be priced, purchased, and hauled away. The man in the powdered wig who called out the fine qualities of the man in chains on his left did not notice the little girl riding the dog. But the man in chains did. She looked up at him, her freckled nose wrinkled in concentration, her green eyes squinting in the sun. She smiled at the man in chains and waved at him. He did not smile back — how could he? — but his eye caught the child’s gaze and held it. Gabrielle watched his hands open and close, open and close, as though grasping and regrasping something invisible, endurable, and true. Something that could not be taken away.

The child began to sing — softly at first. And at first no one noticed. I stood in the receiving room of the Governor’s mansion, waiting to receive dictation for letters going to the governors of other Caribbean territories, to the Mayor and High Inquisitor of New Orleans, and to the advisors to the king himself. This was our tribute to the Governor: rum, wine, transcribed books, and my hands. And for these gifts he left us mostly alone to live and work as pleased God.

Through the window I saw the child who came to me nightly in dreams. I heard the song. I sang too.

The people in the square, distracted by the escaping fish, did not notice the growing cloud of birds that blew in from the sea on one side and the forest on the other. They did not notice how the birds circled over the place where the people stood, waiting to be sold. They did not notice the bright cacophony of feathers, beaks, and talons descending on the dais.

Two big albatrosses upset the traders’ moneyboxes, sending gold spilling onto the dirt. A thousand finches flew in the faces of the guards and officers keeping watch over the square. A dozen parrots landed on the ground next to Gabrielle and sang along with her, though badly and off-key. And hundreds of other birds — and not just birds of the island, birds from everywhere, birds of every type, species, description, and name — spiraled around every man, woman, and child, obscuring vision and confounding hand, foot, and reckoning, before alighting suddenly skyward and vanishing in the low clouds. Gabrielle, her song ended, rode slowly away, as though nothing out of the ordinary had happened. It was several moments before anyone realized that the dais was now empty, and each soul waiting for sale had vanished, utterly. All that was left was an assortment of empty chains lying on the ground.

For weeks after, the Governor, who had invested heavily in the slave-bearing ship and had lost a considerable sum in the disappearing cargo, sent interrogators, spies, and thieves into every home in the town, and while no one knew what had happened or why, everyone commented on the strange, beautiful little girl riding a mongrel dog.

From his balcony atop the mansion, the Governor could see the road that led away from the town, through the groves of fruit trees, through forest, to the Pleasure House and the little cottage surrounded by outrageously fertile gardens. He could see the golden-haired woman with her redheaded child. His breath was a cold wind, his face a merciless wave. A storm gathered in the town, preparing to crush my little Gabrielle.

I went with the Abbot to the cottage behind the Pleasure House, prepared to plead our case. It was not the first time. As the grumblings from the mansion grew louder and more insistent, we wrote letters in secret, sending them to the other islands and to France. Marguerite, dressed in a plain white linen shift, her golden hair braided and looped around her waist like a belt, laid out plates laden with fruit and bread and fish. Gabrielle sat in the corner on a little sleeping pallet. She was nine now and able to read. She came to the abbey often to look at Bibles and maps and poetry. What she read, she memorized. Once she was heard reciting the entire book of Psalms while perched high in a tree gathering nuts.

“Eat,” Marguerite said to us, sitting opposite on the wooden bench and taking out her sewing.

“Later,” the Abbot said, waving the plate away impatiently with his left hand. “Your child is not safe here anymore. You know this, my daughter. The Governor has his spies and assassins everywhere. We could hide her in the abbey, but for how long? It is only at my intercession that he has not come this far down the road, but neither of you is safe within a mile of the town.”

“We need nothing from town,” Marguerite said, filling our glasses with wine. “Drink,” she commanded.

I brought my fist to the table. Gabrielle sat up with a start. “No,” I said. “She cannot stay. I will accompany her back to France, and the Sisters of the Seventh Sorrow will protect her and educate her. No one will know whose child she is. No one will know of the Governor’s hatred. She will be safe.”

Marguerite took my fist and eased it open, laying her palm upon my palm. She looked at the Abbot and then at me.

“She is rooted here. I rooted her myself. She will not go to the sea. There is nothing more to say. Now. Eat.”

We ate. And drank. The wine tasted of flowers, of love, of mother’s milk, of sweat and flesh and dreaming. The food tasted like thought, like memory, like the pale whisperings of God. I dreamed of Gabrielle, growing, walking upon the water, standing with a sword against the sun. I dreamed of the taste of Marguerite’s mouth.

The Abbot and I woke under a tree next to the abbey’s stable.

There was no need to say anything, so we went in for matins.

The next day, a ship with black sails appeared a mile out to sea. The girls of the Pleasure House reported that Marguerite went to the shore, screaming at the ship to depart. It did not. She called to the wind, to the ocean, to the birds, but no one assisted. The ship stayed where it was.

Soldiers came for Gabrielle. Marguerite saw them come. She stood on the roof of her house and raised her hands to the growing clouds. The soldiers looked up and saw that the sky rained flower petals. The petals came down in thick torrents, blinding all who were outdoors. With the petals came seeds and saplings, rooting themselves firmly in the overripe earth. The soldiers scattered, wandering blindly into the forest. Most never returned.

The next day, a thicket of trees grew up around the Pleasure House and the little cottage behind, along with a labyrinthine network of footpaths and trails. Few knew the way in or out. Whether the girls of the Pleasure House grumbled about this, no one knew. They appeared to have no trouble negotiating their way through the thicket, and trained a young boy, the son of the oyster diver, to stand at the entrance and guide men. If an agent of the Governor approached, the boy darted into the trees and disappeared. He was never followed.

The morning of Gabrielle’s tenth birthday, a storm raged from the west, then from the north, then from the east. Everyone on the island prepared for the worst. Anything that could be lashed was lashed. We boarded ourselves in, or ran for high ground. Outside, the wind howled and thrashed against our houses and buildings. The sea churned and swelled before rearing up and crashing down upon the island. Most of the buildings remained more or less intact. At the abbey, the chapel flooded, as did the library, though most of the collection was saved. Several animals died when the smaller stable collapsed.

Once the rains subsided, I journeyed through the thick and cloying mud to check on Marguerite. I found her kneeling in the vegetable patch, weeping as though her heart would break. I knelt down next to her, though I don’t think she noticed me at first. Her pale hands covered her face, and tears ran down her long fingers like pearls. She turned, looked at me full in the face with an expression of such sadness that I found myself weeping though I did not know why.

“The guava tree,” she said. “The sea took it away.”

It was true. Instead of the broad smooth trunk and the reaching branches, a hole gaped before us like a wound. Even the roots were gone.

“There is nothing to hold her here,” she said. And for the first time since the night in the ship’s hold during the storm all those years ago, I reached my arm across her back and coaxed her head to my shoulder. Her hair smelled of cloves and loam and salt. Gabrielle stood on the rocks at the shore, gathering seaweed into a basket to be used for soup. Her dog stayed close to her heels, as though Gabrielle might, at any moment, go skipping away. From time to time, the child peered out at the water, her eyes fixed on the rim of the ocean, or perhaps on something hovering just past the horizon — something that Marguerite and I could not see.

Two weeks later, Gabrielle Belain was gone. She slipped out to sea on the back of a porpoise, and she did not return to the island, except at last in chains in the belly of a prison ship.

From the window in the library, I saw the ship with black sails unfurl itself, draw its anchors, and sail away. From the forest surrounding the Pleasure House, a sound erupted, echoing across the shore, down the road, and deep into the wild lands of the island’s interior. A deep, mournful, sorrowing cry. A dark cloud emerged over the forest and grew quickly across the island, heavy with rain and lightning. It rained for eighteen days. The road washed away, as did the foundations of houses, as well as gardens and huts that had not been securely fastened to the ground.

The Abbot went alone to the place where Marguerite wept. He brought no one with him, but when he returned, the sun reappeared, and Marguerite returned to her work healing sickness and coaxing abundance from the ground.

Every day, she made boats out of leaf and flower and moss, and every day she set them in the waves and watched them disappear across the sea.

Some years later, shortly after Gabrielle reached her fifteenth year, the captain called Gabrielle to his quarters when the pain in his chest grew intolerable.

“The weight of the world, my girl, rests upon my chest, and even your mother wouldn’t be able to fix it this time. That’s saying something, isn’t it?” He laughed, which became a cough, which became a cry of pain.

Gabrielle said nothing, but took his hand between her own and held it as though praying. There was no use arguing. She could see the life paths in other people, and was able to find detours and shortcuts when available to avoid illness or pain or even death. There was no alternate route for her beloved captain. His path would end here.

The red bird whined in its cage, flapping its wings piteously. “I thought that bird would die with me, but he looks like he’s in the prime of his life. Don’t lose him, girl.” He did not explain, and she did not ask.

The captain died, naming Gabrielle his successor, which the crew accepted as both wise and inevitable. As captain, Gabrielle Belain emptied many of the ships heading toward the holdings of the Governor, as well as redirected ships with human cargo, placing maps, compasses, swords, and ship wheels in the palms of hands that once bore chains, and setting the would-be slavers adrift with only a day’s worth of food and water and a book of prayers to help them to repent. The freed ships followed flocks of birds toward home, and Gabrielle prayed that they made it safely. The Governor lost thousands, and thousands more, until he was at the brink of ruination, though he attempted to hide it. This caused the pirates no end of delight.

The red bird remained in his cage for two years next to the portal in the captain’s quarters, though it hurt Gabrielle to see it so imprisoned and alone. Finally, after tiring of his constant complaining, she brought the cage on deck to give the poor thing a chance to see the sun. The mongrel dog growled, then whined for days, but Gabrielle did not notice. There the bird remained on days when it was fine, for another year, until finally, Gabrielle whispered to the bird that if he promised to return, she would let him out for an hour at sundown. The bird promised, and obeyed every day for ten days. But on the eleventh day, the red bird did not return to its cage.

The next morning, a mercenary’s ship approached from the north, and fired a shot into the starboard hull. It was their first hit since the crew’s meeting with Marguerite Belain eighteen years and nine months earlier. The ship listed, fought back, and barely escaped intact. Gabrielle stood on the mast step and peered through her spyglass to Martinique. A storm cloud churned and spread, widening over the thrashing sea.

Down in the ship’s hold, Gabrielle rummaged and searched until she found the empty rum barrel where she had placed the boats made of leaf and flower and moss, which she had fished out of the water when no one was looking. She took one, then thought better of it and took ten and threw them into the water. In the waning light she watched them move swiftly on the calm sea, sailing as one toward Martinique.

Gabrielle Belain (the witch, the revolutionary, the pirate) became the obsession of the Governor, who enlisted the assistance of every military officer loyal to him, every mercenary he could afford, and every captain in possession of a supply of cannons and a crew unconcerned about raising a sword to the child of a Saint Among Men. The third, of course, was most difficult to come by. A soldier will do as he is told, but a seaman is beholden to his conscience and his soul.

For many years, it did not matter. Ships sent out to overtake the ship with black sails, navigated and subsequently commanded by the girl with red hair, flanked as always by a mongrel dog, found themselves floundering and lost. Their compasses suddenly became inoperable, their maps wiped themselves clean, birds landed in massive clouds and ripped their sails to shreds.

In the beauty and comfort of the Governor’s mansion, I took the dictation of a man sick with rage and frustration. His hair thinned and grew gray and yellow by degrees. His flesh sagged about the neck and jowls, while swelling at the middle. As he recited his dictation, he moved about the room like a dying tiger in a very small cage, his movements quick, erratic, and painful.

When Gabrielle was a child and still living on the island, she was to the poor Governor an unfortunately located tick, a maddening bite impossible to scratch. When she boarded the pirate ship and gained the ear of a captain who was both a matchless sailor and ravenous for French gold, she became for the Governor an object of madness. He outlawed the propagation of redheaded children. He made the act of bringing fish back to life a crime punishable by death. He forbade the use of Gabrielle as a given name, and ordered any resident with the name of Gabrielle to change it instantly. He sent spies to infiltrate the wood surrounding the Pleasure House, but the spies were useless. They could have told him, of course, that Marguerite Belain went to the surf every morning to set upon the waves a small boat that sailed straight and true to the far horizon, though it had no sail. They could have told the Governor that every night a blue albatross came to Marguerite’s garden and whispered in her ear.

They told him no such thing. Marguerite instead led the spies into her home, where she fed them and gave them drink. Then, she led them to the Pleasure House. They would appear a few days later, sleeping on the road, or wandering through the market, examining fish.

The Governor, gesticulating wildly, dictated a letter to the king, asking for more ships with which to capture or kill the pirate Gabrielle Belain. He detailed the crimes of the pirate — twenty-five ships relieved of their tax gold, eighteen slave ships either freed or vanished altogether, rum houses raided, sugar fields burned — all these things I wrote to his satisfaction, confident that the king would, as usual, do nothing. In the midst of our audience, however, a young man threw open the doors without announcing himself and without apologizing. The Governor, sputtering with rage, threw his fist upon the desk. The young man did not stop.

“The black ship,” he said, “has been lamed.”

The Governor stood without breathing. “Lamed,” he said, “when?”

“Last night. They hailed the Medallion, who brought the message presently. They have taken refuge on the lee of St. Vincent. The injury to the black ship is grave and will take several days, I am told, to remedy.”

“And the ship who lamed it. Is it sound?”

“They lost a mast to cannon fire, but the ship, crew, and instruments are sound. Nothing lost, nothing.” The young man paused. “Strange.

The Governor walked across the room, threw the doors open with such force that he cracked one down the middle. Whether he noticed or not, he did not acknowledge, nor did he take leave of me. The young man also left without a word. I laid my pages on the table and went to the window, the prayers for the intercession of the Blessed Mother tumbling from my lips. I stood at the window and watched as rumors of lightning whispered at the sky.

On the first of May, 1698, the ship with black sails was surrounded and beaten, its deck boarded and its crew put in irons. Messages were sent to the islands of France, England, and Spain that Gabrielle Belain (the pirate, the witch, the revolutionary) had been captured at last, and her execution had been duly scheduled. The citizens of Saint-Pierre brought flowers and breads and wine to the edge of the wood surrounding the Pleasure House. They lifted their children onto their shoulders that they might catch a glimpse of the woman who was once the girl who brought the fish to life, and who rode on the back of a porpoise, and who inherited the saintly, healing hands of her mother.

The day before Gabrielle Belain was to be executed, a large red bird visited the window, hovered on the sill, and kissed her mouth through the bars. This the people saw. This the people believed. In that moment, Gabrielle began to sing. She did not stop.

The Governor, as he welcomed representatives from neighboring protectorates and principalities, attempted the pomp and protocol befitting such a meeting. He heard the song of the girl pirate in the tower. His foreign guests did not, even as it grew louder and louder. The Governor rattled his sword, ran a shaking hand through his thinning, yellowed hair. He attempted to smile, as the song grew even louder.

The people in the market square heard the song as well. They heard a song of flowers that grew into boats that brought bread to hungry children. They heard a song of a tree that bore fruit for anyone who was hungry, of a cup that brought water to any who thirsted. She sang of a kiss that set the flesh to burning, and the burning to seed, and the seed to sprout and flower and heavily fruit. The people heard the song and sorrowed for the redheaded child, barely a woman now, who would die in the morning.

The song kept the Governor awake all night. He paced and cursed. He made singing illegal. He made music a crime worthy of death. Were it not for the celebrations planned around the scheduled execution of the pirate, he would have slit her throat then and there, but dignitaries had arrived for a death march, and a death march they would see.

In the moments before the dawn crept over the edge of the sky, the Governor consented that I would be allowed into Gabrielle’s cell to administer baptism, absolution, and last rites. Gabrielle stood at the window where she had stood all night and the previous day, the song still spilling from her lovely mouth, though quietly now, barely a breath upon her tongue. I offered her three sacraments, and three sacraments she refused, though she consented to hold my hand. I thought she did this to comfort herself, a moment of tenderness for a girl about to die. When the soldiers came to take her to the gallows, she turned to embrace me for the first time. She placed her mouth to my ear and whispered, “Don’t follow.”

So I did not. I let the soldiers take her away. I did not fight and I did not follow. I sat on the floor of the tower and wept.

Gabrielle, still singing, walked without struggle in the company of soldiers, all of whom begged her for forgiveness. All of whom told her stories of how her mother had saved a member of their family or blessed their gardens with abundance. Whether she listened, I do not know. I remained in the tower. All I know are the stories people later told.

They say that she walked with her eyes on the ground, her mouth still moving in song. They say she stepped up onto the platform as the constable read the charges against her. He had several pages of them, and the people began to shift and fuss in their viewing area. As the constable read, Gabrielle’s song grew louder. No one noticed a boat approaching in the harbor. A boat made of flowers and moss and leaves. A boat with no sail, though it moved swift and sure with a woman standing tall at its center.

Gabrielle’s song grew louder, until with a sudden cry, she threw her chained hands into the air and tossed her red hair back. A mass of birds — gulls, martins, doves, owls, bullfinches — appeared as a great cloud overhead and descended over and around the girl, blocking her from view. The Governor ordered his men to shoot. They did, but the flock numbered in the thousands of thousands, so while the square was littered in dead birds, the cloud rose nonetheless, the girl suspended in its center, and moved to the small craft floating in the harbor.

The Governor, his rage clamping hard around his throat and heart, ordered his ships boarded, ordered his cannons loaded, ordered his archers to shoot at will, but the craft bearing the two women skimmed across the water and vanished from sight.

This I learned from the people in the square, and this I believe, though the Governor issued a proclamation that the execution was a success, that the pirate Gabrielle Belain was dead, and that anyone who claimed otherwise risked imprisonment. Everyone, of course, claimed otherwise. No one was imprisoned.

That night, I stole gold from the coffers of the Abbey and walked down the road to the harbor. My beloved Abbot knew, I’m certain. The stores where such treasures are kept are always locked, but the Abbot left them unlocked and did not send for me after my crime. I purchased a small skiff and set sail by midday.

I am, alas, no sailor. My map, one that I copied myself, paled, faded, and vanished to a pure white page on the third day of my voyage. I dropped my compass into the sea, where it was promptly devoured by a passing fish. I have searched for a boat made of leaf, but I have found only salt. I have searched for two faces that I have loved. Gabrielle. Marguerite. The things I have loved. The scratch of quill to paper. The Abbot. France. Martinique. Perhaps it is all one. One curve of a wanton hip of a guileless god. Or perhaps my believing it is one has made it one. Perhaps this is the nature of things.

I do not know — nor, indeed, does it matter that I know — whether these words shall ever be read. It is not, as our beloved Abbot told me again and again, the reading that saves, but the writing: it is in the writing that the Word is Flesh. In our Order, we have copied, transcribed, and preserved words — both God’s and Man’s — for the last thousand years. Now, as I expire here in this waste of water and wind and endless sky, I write of my own disappearing, and this, my last lettering, will likely fade, drift, and vanish into the open mouth of the ravenous sea.

I have dreamed of their hands. I dream of their hands. I dream of a garden overripe and wild. Of a woman gathering the sea into her hands and letting it fall in many colored petals to a green, green earth. I dream of words on a page transforming to birds, and birds transforming to children, and children transforming to stars.

Tayari Jones Writes About People with Problems, Not Problems with People

Tayari Jones’ first novel Leaving Atlanta didn’t only introduce me to a new favorite author; it also taught me a lot from a craft standpoint. The book follows the story of three children during a time of great fear, capturing the heightened awareness of a threat and also the reality that life doesn’t end when tragedy strikes. As a reader, I was emotionally gutted. Jones’ attention to people and situations as well as a very expert knowledge on story construction kept pushing me to probe deeper as a writer.

An American Marriage: A Novel: Jones, Tayari: 9781616201340: Amazon.com:  Books

I’ve read every novel Jones has published since Leaving Atlanta, and while I’m still a huge fan of her first novel, the material she tackles and the people she creates get better with each new book — from The Untelling to Silver Sparrow to her latest, An American Marriage. American Marriage poses a lot of discussion in terms of race, gender, and societal expectations. Feelings may very well run the gamut as you hear from Celestial, Roy, and Andre — a love triangle that has resonances far beyond mere romance. Celestial and Roy are a young married couple, still almost newlyweds when Roy is falsely accused and later incarcerated. While the world for Roy stands still behind bars, it continues to spin for Celestial. Celestial’s role as wife is an unbearable weight forcing her to consider the kind of love she and Roy do have. When Roy is released, the tensions between him, Celestial, and Andre (Celestial’s childhood friend and new beau) come to a head.

I spoke to Tayari about dealing with social issues in An American Marriage, reader reactions to the book, and how expectation, be it of genre or character, challenges readers to appreciate the larger story and its delivery.


Jennifer Baker: While An American Marriage centers on the core characters’ relationships, it’s not necessarily a social justice-y novel that focuses on the issues of incarceration.

Tayari Jones: Social justice is not a character. Every person who is impacted by social issues is also busy living a life. When people say, “it’s about them and not about the issue,” I feel like every good novel is about the people.

Just like in my first novel on the Atlanta child murders, I was not so much interested in whodunit. I was interested in to whom was it done. What it was like for people growing up in Atlanta in that time. How did it affect their coming of age? In this novel I’m really interested in the way Celestial and Roy’s young marriage has been impacted by this major racial injustice, but it doesn’t change the fact that it’s a marriage. And how the marriage works or fails depends on the two people.

Every person who is impacted by social issues is also busy living a life.

JB: But you don’t ignore the issue.

TJ: No, the issue is part of their lives. My mentor used to tell me, “Write about people and their problems. Don’t write about problems and their people.” So Celestial and Roy are real people with a problem.

JB: And you also bring Andre into it. It’s about the marriage, but Andre is a factor that we can’t ignore.

TJ: It’s a love triangle. I put Andre’s voice in because there were things happening to Andre. Also I just like the guy. But I needed to have two male voices because I didn’t like the way it started to feel like Roy was standing in for “the Black man.”

Just putting Andre in there — giving more than one voice a Black male experience — it took a lot of pressure off of each of them not to have to function symbolically. It allowed them each to function more as individuals.

JB: Another thing that comes up is the dictation of behavior and the expectation from family. Celestial and Andre deal with that a lot.

TJ: I think they all do. It’s just that Celestial and Andre are not doing what people want. And Roy, for example, all his life everyone who has met him has thrown him a parade. His whole life. All his life everyone has been so excited about him because I think he represents Black male progress in a way that people like. I think he doesn’t realize the extent to which he is influenced by societal and familial…. For him he wouldn’t describe it as pressure, I think he’d describe it as influence. But he has just been on the right side of what people have always wanted for him his whole life. Whereas Celestial is a woman trying to make her own way, she is constantly butting up against people’s expectations that is not affirming.

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JB: Why did you decide to make Celestial an artist? Because that comes into play for their marriage too.

TJ: To make Celestial an artist was a hard decision for me. I decided to make her an artist and Roy would be her subject. And if you think about it Roy is delighted with her art when he feels it celebrates him in an uncomplicated way. Like when she’s making dolls that look like him as a baby. He loves that. But when she makes a doll that reflects his situation in prison and she receives accolades for it, it makes him uncomfortable.

JB: But she also doesn’t talk about where it comes from.

TJ: She doesn’t talk about him. She talks about how she’s interested in mass incarceration and wrongful imprisonment. But she doesn’t say his name. So even though he’s inspired the art, it doesn’t reflect him in the way he wants to be reflected. But then he says something interesting to her: “I’m gonna tell you, no amount of art has ever gotten anyone out of prison,” when she says she wants to raise awareness about the issue. And as an artist myself I thought there are limits to what art can accomplish. It doesn’t mean we shouldn’t make art. It doesn’t mean art isn’t valuable. But when Roy says that to her, it humbled me as a writer.

JB: That’s another thing Celestial has to argue for as well. She keeps asking Roy “Can’t you understand?”

TJ: This is her life’s work. This is the thing I’ve been working toward all my life. But the fact of incarceration makes anything she enjoys seem almost criminal. And then you think about that metaphorically as an African American narrative. For any of our pleasures when our brethren and sistren are in such distress: Is there a built-in guilt factor with our own mobility?

JB: Do you think readers have a hard time grasping at that because of those predetermined notions of protecting men, as in ‘women do this to protect men’? Just like Celestial’s father seems to be that representative who wants to protect Roy. He keeps leaning on the big societal issues, that he was just at the wrong time and wrong place…

TJ: “…and the least you can do is to preserve yourself in amber for him.” It’s as though people can only think of her support system in one way, which is romantically/sexually. And she says she is not going to deny her sexuality, then it’s like you’re horrible, you’re abandoning him. There’s only one way she can be supportive? And I kind of think that’s unfair to her.

JB: I’m a woman who reacted to that and thought/felt certain way. I wanna say felt because maybe that’s where it’s coming from? People are feeling a certain way?

TJ: Yes, and I think there’s also a challenge in expectation of genre. Because when you say it’s a novel involving wrongful incarceration you assume the novel is an issue novel about a fight to freedom. You have to know how the characters are positioned. So when a novel kind of challenges expectation of genre it is frustrating to the reader on some level. I think the reader has to power through to read something different from what she was expecting.

I think the reader has to power through to read something different from what she was expecting.

JB: And how was that for you to write and feel, in the end, “This is exactly where this needs to be”?

TJ: The last 50 pages or so were really hard for me because I had to figure how all three of these people who I feel are very sincere in their intentions — how could they all walk away from this sadder but wiser? I felt like they were my 3 children and I had to make sure they all get a gift under the tree. And it has to be believable and it has to be real. So my question was: How can we move forward into the future together? And so I had to figure it out. It was a hard question.

’Cause at first I was saying “This is a love triangle, someone’s gotta lose.” Then I realized that was the wrong way to think about it.

JB: Because losing meant something else?

TJ: It made getting the girl or not getting the girl the measure of the experience. And as Andre says Celestial is not something like a wallet. The expectation of genre means if you say something is a love triangle it means who gets the girl? Who gets the guy? And I had to take that genre expectation out of my own head. And the question is: How can they each move forward whole?

That genre expectation is very, very difficult. If a story has a detective in it, you think it’s a detective story. So if you have a novel with a detective and they don’t solve the crime at the end you’d be very frustrated because of your expectation of genre. It can be a fine book with an emotional ending, but if you don’t know whodunit you feel like the book didn’t honor “the contract with the reader.” And I realized that when Roy was wrongfully incarcerated I was setting a certain contract. When I decided it was a love triangle I was making another contract. So I had to renegotiate both those contracts in order to write this book.

If a story has a detective in it, you think it’s a detective story. So if you have a novel with a detective and they don’t solve the crime at the end you’d be very frustrated because of your expectation of genre.

JB: I think people are also consistently focusing on the incarceration.

TJ: I think that’s absolutely true. And incarceration is such a gendered situation. I think they’re thinking that because it begins with Roy’s voice, because it’s read as a book about a man they don’t see that it’s a book about gender even though men have a gender as well.

So much of this is about masculinity. It’s about fatherhood. I feel that’s what makes Roy able to go on with life is that he has to reconfigure his understanding of self and masculinity. He thinks that to be a free man is to exert dominance over his household. But what he learns to be a free human being means that you’re a person who can exercise empathy. That being empathetic is not a luxury. That it is a core tenet of your humanity. And with that you are a free. That’s what he has to learn. So he has to set down these antiquated, Odysseus ideas for what it means to have a triumphant homecoming, what it is to be a free person.

How Does a Tragedy Become Art?

Capturing the most joyous, life-changing moments on camera is either a stroke of luck or the result of careful planning. The tragic instants that alter lives, however, are rarely images we want to frame; when they are caught on film, we’re left with certain questions: what to do with this tangible reminder of sadness? Who exactly owns the rights to this moment? The person, their family, the capturer?

Purchase the novel.

The protagonist in Rachel Lyon’s debut novel Self-Portrait with Boy, Lu, takes a photograph that accidentally captures a young boy’s final moments. From there, she is faced with a dilemma. Does she exhibit the haunting but beautiful photograph to further her art career? Or keep it private and protect the family’s emotions?

In addition to exploring what role art should or should not play in tragedy, Lyon also focuses her novel on the gentrification of her childhood neighborhood, Dumbo, in the early 1990s. These two themes provide a formidable narrative of passion, struggle, and art.

I spoke with the author about the place for tragedy in art, and where she sees finds fiction in her realities.

Adam Vitcavage: Where did you get the idea for the photograph that is at the center of Lu’s story?

Rachel Lyon: I grew up in a building similar to Lu’s building in the book in Dumbo. Before I was really old enough to understand what was happening, a boy did fall from the roof and died. I wasn’t aware that that happened at the time. I found out about it in my twenties when I was writing more seriously. It became a generative image for me.

AV: When you found about the incident, did you immediately start writing about it?

RL: I don’t think I knew I immediately wanted to write about it. I did want to write about Dumbo because the neighborhood meant a lot to me. It disappeared very quickly after we moved out. It was transformed and the landscape looks very different now. I knew I wanted to write about that space and that time. The tragedy became kind of an anchor.

Suicidal Ideation and Who We Allow to Be Real

AV: When I first saw the title of the book and read the synopsis, I started to think about a lot of tragedies that became art or pop culture. The Falling Man from 9/11 comes to mind. Esquire wrote an article a few years back; it was a documentary; DeLillo has a book about it. Did you draw inspiration from how events like were incorporated into narratives?

RL: I was thinking about the Falling Man—I read that Don DeLillo book in grad school. It’s a strange, interesting novel. In undergrad, I took this course on ekphrasis writing, which is writing about other art forms and writing toward other art forms in some way. It was a natural extension of that approach.

AV: Do you feel if there is any event that is too personal to capture for art or to portray publicly?

RL: I think there are two answers. On one hand, if it’s someone else’s personal story it becomes debatable. We start talking about crossing boundaries in art and who gets to tell whose stories. Those are the questions raised in my book.

But there is also the question of whether anything of one’s own is too personal to make art from? That is only a reasonable question if we consider of how much perspective you can give something. There are personal things I can’t write about because I don’t understand them yet. They’re too deep inside of me. I have no way of putting them in words, nor giving them the kind of wisdom and perspective I want to give anything I write about. You can’t objectively understand things that are too personal to you.

Is anything of one’s own too personal to make art from?

There is a photo I saw while researching this book. It was a picture of a corpse. A naked corpse with a tag on his toe and you can see his penis. It’s really intense. I was thinking about the photographer when I was writing Lu’s story. I think all of those questions about crossing boundaries and using the story of a stranger and even a friend are really interesting. I don’t know if there is a right answer.

AV: The photo you bring up is interesting because a few months ago a YouTuber faced a lot of controversy about filming a hanged body in Japan’s suicide forest. How he presented it deserved the controversy but deep down I was thinking, “What if National Geographic sent someone on assignment and photographed the same body?” When does tragedy become okay in media?

RL: Yeah, you think about the monk setting himself on fire in Saigon during the Vietnam War and the power that image carried with it for awareness and change. Photography is a way of soliciting these strong feelings. I think context is everything.

AV: How do you use people’s stories to shape your own fiction?

RL: I like to quote to my students that old chestnut: good writers borrow and great writers steal. I don’t want to treat anyone disrespectfully. For instance, I purposefully didn’t want to learn anything about the family of the actual boy who died in Dumbo. I wanted to keep this fictional and keep it my story. I didn’t want to cross any boundaries.

I wanted to keep this fictional and keep it my story. I didn’t want to cross any boundaries.

You know I’m not a mother, I never lost anyone that close to me. It was hard for me to approach that grief when I was writing Kate and dealing with this grieving character. It was a kind of feeling that I found it hard to conceive of. Fortunately, I was writing in Lu’s voice, but when I was writing Kate’s dialogue and working on her character, I talked to someone who has lost people who are very, very close to her. I used some of her language there. I’m sure she recognizes her voice in certain parts of it and I hope she feels it was portrayed accurately and it feels true to her.

AV: With this lady, how did you broach the subject of you writing her experience into the book?

RL: We’re friends. We were talking about her life and so on. I did tell her that what she said was useful for me in terms of the book and that I would like to incorporate it. I can’t not bring in what I read, hear, see, and talk about into my work. Our brain is a big pile of junk and you take from it what you will and that’s what creates the novel.

Double Take: ‘The Epiphany Machine’ Takes Tragicomedy Into Terrifying New Corners

AV: Is the book you set out to write the book we know it as now?

RL: It changed a lot. I worked on it for a long time. Longer than I realized actually. A little while ago I was going through files on my computer and I came across some documents I had written before I went to grad school; so, around 2008 and possibly even earlier. There were dribs and drabs. I had this idea for a novel called The Love Artist which was about a character named alternatively Louise and Lucy who was using love as her medium and hurting people along the way. That was one concept that fizzled out. There was another document that was just a woman visiting her parents and there was a long scene of her driving up a highway in an old car. That made it into the book eventually. That was one of the oldest sections and it is outside of the plot but ended up in there.

Portrait has been through a lot of iterations. The penultimate draft was all in third person that had different POVs in it of three or four characters. When I got to the end of that draft I realized I needed to simplify. I went back and started writing chronologically from the beginning—all from Lu’s voice—once I figured out the plot.

AV: After that third person draft and going back, what was that process like? Was it as simple as changing the tense or did you completely re-write it?

RL: I had completed that penultimate draft and I knew it was a mess, but I just wanted it to be okay. I was listening to this podcast at the time called A Tiny Sense of Accomplishment which is Sherman Alexi and Jess Walter in conversation. They talk about process and share works in progress. It was fun to hear them hear them read their works in progress out loud and how they’re frustrated.

Sherman Alexi told this anecdote in one episode where he was a guest professor at an MFA or summer program and this woman working on a novel asked him from some advice about a novel that wasn’t coming together. She wanted to know how to finish it. He remembered something he heard about a filmmaker who would write his screenplays by taking a piece of lined paper and numbering it from one to forty five. Each page would be a scene and by the end of it that would be a story. Alexi said a novel would have more scenes than a movie so he suggested to number pages one to sixty scenes and go from there. She came back years later and she said it worked.

I could see the whole plot of the novel in front of me. I hadn’t been able to see before.

I heard that and I was struggling myself so I tried this whole sixty scenes thing. It works pretty well. I could see the whole plot of the novel in front of me. I hadn’t been able to see before. I kept the whole document minimized and I spent the next year and three months writing again with that outline.

AV: When you’re writing this draft, are you editing as you go?

RL: I made a rule for myself that I wasn’t allowed to edit as I was producing new material. I couldn’t get bogged down that way. I tried to write the whole draft. There were inevitably times when I had writer’s block and I just needed to edit.

I wrote the final line and spent thirty-six manic hours going back and copy-editing before sending it to the person who became my agent.

AV: Going forward with your writing, is this a process you’re going to continue with?

RL: In a way. I’m not going to do the sixty scenes because it’s hard to know exactly how many scenes you’ll need. For the current novel I’m working on, I’m writing chronologically. More or less. I started it that way and got to 150 pages. Now I jumped to the end. I’m going to have to spend some months filling in the middle third.

7 Books to Remind You That Life Goes On for Women After 70

Netflix’s Grace and Frankie just dropped its fourth season, which means a whole lot of people are binge watching the adventures of two 70-something friends (and their gay ex-husbands). Jane Fonda’s Grace and Lily Tomlin’s Frankie are decades older than most of the women we see in leading television roles, but they easily carry the show—and though they’re frank and humorous about the challenges of aging, they’re never the butt of the joke.

It’s rare to see senior women on TV at all, let alone dating, doing drugs, running a business, and having fun with their friends. If you’re hungry for more content like Grace and Frankie, you may be out of luck on the small screen—but we’ve rounded up seven novels whose over-70 protagonists do more than just reminisce and wait to die. If you are, know, or just want to become a fierce old lady, start here.

The Summer Book, Tove Jansson

Jansson showed her keen understanding of the complex and sometimes dark inner worlds of children in her beloved Moomintroll series. In The Summer Book, she also explores the emotions and experience of adult caregivers—specifically, an elderly woman looking after her six-year-old granddaughter on a small Finnish island. Their story is told in a series of luminous vignettes that highlight the pair’s strong personalities, warm relationship, and simple pleasures.

Florence Gordon, Brian Morton

The eponymous protagonist of Morton’s novel may be 75, but she has no interest in slowing—or calming—down. Lifelong feminist Florence is irreverent, accomplished, sometimes ferocious, and committed to living an independent life, but must still reckon with the way her fate (and feelings) are bound up with her family’s.

Like a Mule Bringing Ice Cream to the Sun, Sarah Ladipo Manyika

Former English professor Dr. Morayo Da Silva, going on 75 years old, spends some of this novel reflecting on her past in Nigeria—but the rest of it navigating her present as she lives alone in San Francisco, dealing with the challenges of an aging body and the benefits of a clear memory and determined mind. Deeply engaged with the world and community around her, Morayo tells her own story but is joined by some of the people who have touched her life (and vice versa).

Two Old Women, Velma Wallis

This novel, based on a legend from the indigenous Gwich’in people of Alaska, pits two elderly women against conditions that would test even the young and healthy. Sa’ (75) and Ch’idzigyaak (80) are abandoned by their tribe in the treacherous winter tundra. Rather than despair over this betrayal, the two find ways to hunt, cook, shelter, travel, and stay warm, and wind up as symbols of perseverance—and the importance of the elderly—to the tribe members who tried to leave them behind.

Arsenic and Old Lace, Joseph Kesselring

Listen, for some of us an active old age means travel and yoga, and for others it means poisoning people in your parlor. The important thing is keeping busy. In this classic play (later a classic movie), the elderly Brewster sisters turn out to have a cellar full of corpses—but, you know, in a funny way.

An Unnecessary Woman, Rabih Alameddine

Beirut native Aaliya Sobhi is 72, estranged from her husband, and seemingly invisible to her family—but she has a rich inner life, thanks to her passion for translating literature. The novel is more interior monologue than plot, covering Aaliya’s memories of her youth in wartime Beirut but also her feverish, secretive, and very much still vital love of words.

The Hearing Trumpet, Leonora Carrington

At 92, Marian Leatherby is unable to resist being committed to an institution by her family (though she can hear them plotting, thanks to the gift of an ornate ear trumpet). But her life is far from constrained, as the institution turns out to be a surreal and somewhat sinister wonderland. This strange and fantastic novel shows that otherworldly adventures are not limited to the young.

Through Books, I Learned to Love the Natural World I Never Saw

Novel Gazing is Electric Literature’s personal essay series about the way reading shapes our lives. This time, we asked: What’s a book that made you fall in love?

I once painted a half-shell of coriander seed into a ladybug beetle and pretended it was my pet. I placed it on the leaf of a potted plant, left it alone for a while, then came back, moved it onto another leaf and left it alone again. I did this for a few days, and I remember adults cooing over how sweet the beetle was, or how clever it was for me to have looked at a seed and seen an animal. I remember feeling small, sorry for myself, and quite silly. Despite my best efforts, I couldn’t trick myself with the fiction I had created: the beetle was on a bottom leaf in the morning, and now it’s up on top, it must be alive, it must be the kind of magic that only works when you’re not looking.

I grew up in Dubai, which is hard on a child with an imagination. I often describe my world as one of concrete boxes — the climate was nearly always too hot to explore outdoors, so I never played more than a few meters away from air conditioning, sealed windows, and paved floors. Not much grew that was not planted and obsessively watered. Wet soil would desiccate within a matter of hours of sun. Animals were city-hardy, the sort that stole from trash cans and lipped from condensation dripping off air conditioning boxes, or the sort that lived in under sinks and within the walls.

I read, wildly, overcompensating for my uninspired surroundings. I took everything I encountered in books for literal truth. If I were a city person — and a desert city person at that — I was also a woodsman, a flower fairy, a dragon tamer, a dolphin. If I read, I was alive.

Along came a boy.

He was untameably curious and, when I first met him, he just happened to have discovered a mother scorpion in the back of his garden, carrying dozens of babies on her back — each one a perfect, miniature reproduction of its parent, from pincers to venom-tipped tail. I’d never seen such a remarkable thing before, and neither had the boy. Enthralled with what he’d found, he decided to catch the mother and her babies and bring them home in a matchbox to learn more about them. Lunch was served, the boy’s family gathered, and the matchbox temporarily forgotten. Eventually, the boy’s older brother rummaged about for a cigarette and matches. Of course, he picked up the wrong matchbox. Of course, the scorpion and her babies got out. In the pandemonium that ensued, of course, the family dog bit the cook on the ankle.

The first time I read this story, I laughed out loud — in the middle of an English comprehension test at school. It was excerpted from the loosely autobiographical novel, My Family and Other Animals, by Gerald Durrell, an account of young Gerry Durrell’s life on the Greek island of Corfu, some years before World War II. I was a preteen when I read the story, around the same age as Gerry in the novel. I remember making a note of the book’s title, one of the only times I’ve learned something of value from a school test. I hunted down a copy of the book, and it remains one of my most treasured companions.

My Family is equal parts a comic retelling of a family of eccentrics and a love letter to the Mediterranean wilds of Corfu. Gerry’s widowed mother moves her family from England to escape the dreary weather, and tries her best to keep calm with gardening and experimental feasts while her children convert the rest of their new home in service to their divergent passions. Gerry’s older siblings include an aspiring actress, a huntsman in training, and a long-suffering novelist — the later-famous Lawrence Durrell. The family’s histrionics over the course of the book include inadvisable Gothic romances, guns going off at odd hours of the night, and hosting guests of delicate, excitable dispositions. Once, a night of drunkenness nearly leads to a bed nearly catching fire, occupant included.

Gerry, for his part, brings animals, alive and dead, into the family fold. Apart from scorpions, the Durrell family plays reluctant host to a pair of magpies, a tortoise, a gull, several dogs, terrapins, an owl, and water snakes, to name a few. His room contains birds’ nests, interesting shells, specimen jars teeming with ditch-water invertebrates, pinned insect collections, and a badly taxidermied bat. Despite their misgivings about turning the homestead into a menagerie, the family encourage their precocious youngest in his inquiries, arranging the odd tutor here and there to guide the boy, but otherwise allowing him to roam the island unfettered.

Thus, we experience Corfu through the unfiltered lens of a child scientist. Gerald Durrell would go on to become a naturalist and zookeeper, but his early academic training is enviously free of such mundanities as classrooms and examinations. Gerry rambles from tidepools to hilltops, climbs trees, pokes in ditches and hollows, and rows a rotund, homemade boat around the island’s shore. He learns Greek by befriending neighbors and tradesfolk. He learns about animal diets and relationships, hunting and hiding behaviors, anatomy and locomotion through obsessive observation. He collects, dissects, preserves, and raises animals purely out of curiosity and wonderment.

Oh, to be so bold as to love a creature down to its cellular workings and up and out to the very limits of its habitat! I didn’t know it was possible. Or rather, I didn’t know it was possible in real life. Durrell’s book, a novelized nonfiction, suggested to me that it was hardly eccentric to be the sort of child who would make friends with a housefly in a classroom, just to watch it sponge sweat off your skin, just so you could study how its tongue worked. Or that if you find a baby bat fallen from a light fixture in a stairwell, it’s perfectly normal not to squeal in horror, but to pick it up and wonder how to nurse it back to health.

By Gerry’s example, I gave myself sanction to be a sort of naturalist even in my land of limited resources. Dubai’s naturally arid climate does not support a great diversity of species, but humans cannot settle in places that don’t support some kind of life. I studied the cracks in walls and pavements, and poked around in hedgerows and potted plants. I practiced love for ants and feral cats, the corpses of geckos and fallen feathers. I kept guppies to watch them birth live young. I kept a snail rescued from an orchid imported from Thailand. I tried to raise a hawk moth caterpillar on the leaves of the bush I found it crawling upon. I killed it, because I was still learning.

By Gerry’s example, I gave myself sanction to be a sort of naturalist even in my land of limited resources.

Midsummers in Dubai, surface temperatures hot enough to fry eggs, I’d return to My Family and Other Animals as a vacationer does, fleeing bad weather for better climes, ready to dip my toes in sea water and comb field grasses for beetles. I considered Gerry a dear friend, a compatriot who understood that entertainment and enchantment isn’t manufactured but found, uncontrolled and unheeding of an audience, wherever an animal makes a burrow or disembowels its prey, wherever there is water, and light, and a little space to breathe. I’ve had many fantasies growing up, but none so poignant as that of living in the real world, a world made vivid in Durrell’s writing, a world in which I coexisted with the stuff our collective mythologies — beasts that flew, that leapt, beasts that slithered and dissolved into the sea.

In a continuing trend, more of us will grow up in urban environments in the decades to come, and more of what we consider wild and alive and non-construct will exist on the periphery of our daily lives, so alien as to be unintelligible. Yet nature persists in the green spaces of our gardens and our city parks. It builds its nests above our air conditioning units and encrusts the plumbing leading out of our homes. It thrives under our fingernails and upon our skin. Every so often, a hawk moth will alight above the door jamb and we must pause and take in its mottled wings, its inscrutable eyes, the aerodynamic weight of its body. Every blue moon, a nightjar will take rest on the balcony, trying to look like a tree stump protruding from the metal railing, and we must linger behind the curtains and watch it sleep.

Nature persists in books. There’s a particular hypnosis that occurs when reading that I think is very similar to that which occurs while watching an animal go about its business. It’s a state of empathy — you’re imagining yourself through the eyes of a character in the book. In the woods, in a city, you spy an animal, and you’re imagining yourself with six legs, with fins, with a beak.

There’s a particular hypnosis that occurs when reading that I think is very similar to that which occurs while watching an animal go about its business.

Durrell’s book taught me that the written word and the natural world coexisted and kept each other alive. Since his lifetime, and especially so in mine, I fear the loss that we are creating through ecosystem destruction. I fear our loss of empathy. How can we feel what we do not experience? How can we love what we do not know? Nature is a map we’ve torn up, and we’ve lost so many pieces. When we put it back together again, what should we scrawl in the empty spaces? Here were komodo dragons. Dodos. A thousand species of rainforest frogs. A million species of solitary bees.

Those who know me as an adult would not be surprised that I collect animal bones and unusually shaped seeds out of compulsion. Or that I keep tadpoles in a small tank on my bookshelf. That there are dozens of iridescent insects and one sadly dead hummingbird in my freezer, that a tree appears in every third poem I’ve written, or that I wear a magnifying loupe around my neck when I’m out about town, in case of lichens. I do it to pay homage to childhood, to a universal spirit of inquiry so often quashed in children before it can take root. I do it to affirm that it is possible, necessary even, to bear witness to this world we’re given, where none of us is alive alone.

Harnessing the Anger of a Generation

An excerpt from ‘Passage’

After a heated conversation about how either of them could shoot better than most of the players on the Knicks, Warrior and his father returned to the living room with warmed plates of food. Warrior’s mouth watered as he ate. His father always cooked with spices upon spices — pepper, garlic, butter, brown sugar, and hot sauce were everywhere. The chicken, cooked till browned, of course, fell off the bone, and the yellow saffron rice and bright orange yams were so good they even looked pretty. “Damn, Daddy. . . This . . . is . . . good,” Warrior said, licking his fingers.

His father smiled with pride. “You know it is.”

Then Warrior and his father sat in absolute silence. Warrior sank deeper into the burgundy couch, his father in the cherry wood rocking chair. In the absence of voices, the hum of the refrigerator, the tick of the clock, and the creak of the chair kept the beat, and his father rocked.

Warrior finished eating and leaned back into the couch. The living room was filled with instruments of every kind. A piano was in the far corner; one of his father’s basses sat at his feet, a guitar lay on top of the piano, a banjo with one broken string leaned against the wall, and drums were everywhere. Near the shelves piled high with books, was an entire silver and light honey brown drum set. There were congas of all sizes sitting around the room, waiting.

Warrior looked at a photograph of a smoky Blues joint. In the picture people were grindin’, legs wrapped around each other, as the saxophone player on the makeshift stage blew filthy notes. A few feet away on the same wall hung a dark, black-and-white photograph of Nelson Mandela looking out from behind bars in his jail cell. The shadows of the bars cast lines across his face as his eyes looked out in the distance.

“I saw Mandela on TV the other day, talking about how when he was a child he never thought he’d be where he is today. He thought he would be a shepherd out in the countryside,” Warrior said as his father finished the last of his dinner.

“A man can’t run from destiny. And his wasn’t bein’ no shepherd. That brutha is a baad cat, one for history,” his father said, wiping his mouth with the back of his hand.

Warrior stared at the photograph, slowly shaking his head. “Spent twenty years in prison, and then they came to him and told him, ‘Mandela, if you swear you won’t start no trouble, if you swear to make peace, we’ll let you out.’”

His father continued Warrior’s thought, “And Mandela just looked at ’em and said, ‘No thank you. I come out on my own terms, or I don’t come out at all. Prisoners cannot negotiate.’”

Warrior finished where his father left off. “And then he turned around and walked back into his cell for seven more years.” Warrior’s father nodded solemnly.

Warrior brought his eyes down from the picture. “People always say, ‘That brother was hard.’ But he wasn’t hard, he was strong. There’s a difference. He knew that he was the symbol of a movement. A living martyr for liberation, and his position was non-negotiable. Period. If they broke him, they’d be breaking a whole lot more than a man, they’d be breaking a people. He knew that,” Warrior said.

“He spent twenty-seven years in jail to be free,” said Warrior’s father. “Twenty-seven years,” he said through his tightened jaw.

“That’s the only hope for this country,” Warrior said. “Only a leader with his moral righteousness, a leader who knows the pain of war but also is not afraid of it, can grab the ear a the youth. If someone doesn’t come along who can reach those filled with rage, the invisible walls are gonna crumble, and America’s gonna see the face of what it’s created. The pain’s gonna be brought to their front door, and ain’t no soldiers gonna have the power to stop it. I’m not sayin’ what I think should happen, I’m sayin’ what I think shouldn’t happen, I’m sayin’ what’s gonna happen.”

Warrior’s father responded to his son’s words. “You’ve come up with a angry generation, son. Angry at broken promises, and angry at the situation you found yourselves in. It’s a righteous anger, but it’s gotta be harnessed, directed, or else it’ll take hold a you, and get inside a you like death. And I seen some that ain’t never freed themselves from its grips.” Warrior sat quietly for a few moments, his eyes studying the wooden floors, and then he looked up into his father’s face. “They asked a senator the other day how quickly the violence and bloodshed would end if the children dying were the sons and daughters of senators and congressmen, and he said, ‘It would have ended yesterday.’ So when they say that they want to deal with our anger peacefully, without any bloodshed, what they mean is that they don’t want any of their bloodshed. ’Cause while we been talking, our blood’s been flowing in the streets for years, like a river.” Warrior’s words cut through his father, and he met his son’s eyes with force.

“There must be another path to follow besides making them feel the pain we’ve felt. They can’t never know that kinda pain. We’ve been losing our children for years now. I wouldn’t wish the death of one’s children on my worst enemy. The loss of a child is a bitter pill to swallow. You hear me? A bitter pill.” Warrior’s father spit out the last words.

Warrior slowly dropped his eyes from his father’s. He looked down at his hands and said, “That’s true, Daddy. But when a child ceases to dream ’cause he spends all his time thinkin’ about whether or not he’s gonna die, a fourteen-year old being hopeless, that’s a bitter pill to swallow too.”

After a few moments of silence, Warrior’s father picked up the bass that lay at his feet, and his fingers freed the music. He stared off into space as Warrior now lay down on the couch — the only piece of furniture in the house long enough to hold his frame. Warrior closed his eyes, released the tension in his body, and listened to the soft moan of the bass.

They sat there for hours, listening to the horn of Bird, and the smooth trumpet of Miles. They talked and laughed, telling and retelling history, cloaked as family stories. They told tales they both knew, and argued about the lies. Warrior fell asleep with warmed liquor in his stomach, voices in his head, and the flow of the bass in his ears, his father’s hands still freeing the song.

About the Author

Khary Lazarre-White is a writer, social justice advocate, attorney, and activist who has dedicated his life to the educational outcome and opportunities for young people of color at key life stages. His support base is far-reaching and diverse, built over the past twenty-two years as co-founder and executive director of The Brotherhood/Sister Sol. He has received awards for his work, including the Oprah Winfrey Angel Network Use Your Life Award, the Ford Foundation Leadership for a Changing World Award, awards from Black Girls Rock! and the Andrew Goodman Foundation, and a Resident Fellowship Award to the Rockefeller Foundation’s Bellagio Center. Khary Lazarre-White is a highly influential presence among national policymakers and broadcast, print, and social media outlets. He has written for the Huffington Post, NYU Press, Nation Books, and MSNBC.com, and has edited three books, The Brotherhood Speaks, Voices of the Brotherhood/Sister Sol, and Off the Subject. He lives in Harlem, New York City. Passage is his first novel.

This excerpt comes from the novel PASSAGE, published by Seven Stories Press and appears here by permission of the publisher. Copyright © Lazarre-White 2017. All rights reserved.

17 Literary Podcasts to Ease Your Commute

Stuck in bumper to bumper traffic with that same Ed Sheeran song playing on the radio for the hundredth time and giving you earworms for days? Rush hour subway too packed for you to immerse yourself in Dostoevsky’s Crime and Punishment without a stranger’s elbow obscuring half the page (rude much, fellow commuter)? We have just the solution: literary podcasts! From candid interview with your favorite authors to humorous reviews of romance novels, these audio recordings will ensure that you will have a pleasant and semi-intellectual commute (disclaimer: increased intelligence not guaranteed). So plug in your headphones or blast your speakers, tune out the world and get lost with these 17 audiotastic literary podcasts!

AAWW Radio By Asian American Writers’ Workshop

From the website: “AAWW Radio features curated audio from current and past literary events with authors like Maxine Hong Kingston, Roxane Gay, Amitav Ghosh, and Hanya Yanagihara at the Asian American Writers’ Workshop, a national nonprofit dedicated to the idea that Asian American stories deserve to be told. AAWW has got it all: from avant-garde poetry to post-colonial politics, feminist comics to lyric verse, literary fiction to dispatches from the racial justice left.”

Banging Book Club By Hannah Witton, Lucy Moon, and Leena Norms

Banging Book Club describes its hosts as “the baddest bitches in the sex book genre who want to take you along for the ride.” Every month, they get together to discuss a book on gender and sex from light-hearted book reviews (spoiler-free!) to tackling intersectional feminism and how white women can do better while highlighting the best bits and revealing a bit about their own experiences with all things banging.

Between The Covers by David Naimon

David Naimon hosts Portland-based podcast Between the Covers, engaging in thought-provoking interviews with a wide range of contemporary authors from Pulitzer Prize–winners like Colson Whitehead to emerging novelists like Eunsong Kim. Burning House Press praised David as a host who “engages deeply with each writer’s work and always gives his listeners a new way of thinking about complex issues related to literature, life, and society.”

Book Fight by Tom McAllister, and Mike Ingram

The Book Fight podcast is, in a nutshell, writers talking about books. Books we love. Books we hate. Books that inspire us, baffle us, infuriate us. These are the conversations writers have at the bar, which is to say they’re both unflinchingly honest and open to tangents, misdirection, general silliness. Each episode starts with a particular book, story or essay, chosen either by Tom or Mike or by guests which generally serve as a jumping-off points for larger discussions about writing and reading: craft issues, the ins and outs of publishing, the contemporary lit scene, such as it is.”

Freedom, Books, Flowers & the Moon by the Times Literary Supplement

Hosted by the editors of the Times Literary Supplement and “inspired by Oscar Wilde’s question, “With freedom, books, flowers, and the moon, who could not be happy?” the TLS brings a wide-ranging “esoteric yet solid” weekly podcast on books and ideas.” In the latest episode, the hosts and their guests expounded on everything from “the unrequited love, and painful experiments on frogs, of Prussian polymath Alexander von Humboldt” to “the seething malevolence beneath American ‘niceness’.”

The Guardian Books by Claire Armitstead, Richard Lea, and Sian Cain

Featuring authors like Penelope Lively, Stephen Fry, and Neil Gaiman with topics from “poetry for the mind and gastronomy for the belly” to “the future of literary fiction,” The Guardian Books is a weekly podcast presented by the Guardian book editors who delve into “the world of books, poetry and great writing”. Featuring incisive interviews with prominent writers and thoughtful examinations into contemporary writing themes and movements, this is the book lover’s ideal companion.

KCRW’s Bookworm by Michael Silverblatt

“A must for the serious reader, Bookworm showcases writers of fiction and poetry — the established, new or emerging — all interviewed with insight and precision by the show’s host and guiding spirit, Michael Silverblatt” who provides “intellectual, accessible, and provocative literary conversations.”

Literary Disco by Rider Strong, Julia Pistell, and Tod Goldberg

Hosted by “three good friends who also happen to be huge book nerds,” Rider, Julia, and Tod read books, stories, and essays and engage in heated arguments about them. From nonfiction books about food culture to classic children’s books, no genre is off limits. Hello Giggles called Literary Disco “smart, thoughtful, hilarious, and sometimes ridiculous in the best possible way.”

fiction/non/fiction by Lit Hub

Hosted by writers V.V. Ganeshananthan and Whitney Terrell, fiction/non/fiction “interprets current events through the lens of literature and features conversations with writers of all stripes, from novelists and poets to journalists and essayists.” Episodes feature nuanced and in-depth discussions on wide-ranging contemporary affairs from censorship and the language of immigration to Colin Kaepernick and what it means to take the knee.

Lit Up by Angela Ledgerwood

“Lit Up is a podcast about books, writers and all things literary where no topic is off the table and no conversation is too weird, too personal or too controversial. Angela Ledgerwood goes beyond the book and ask the authors who are sparking the world’s cultural conversations what they’re reading and what they are thinking, and sometimes, the truth about who they really are. Lit Up always provide a candid takes on what’s new and exciting on and off the page.” Recent guests include Jennifer Egan, Salman Rushdie, and Ann Kendrick.

Literary Friction by Carrie Plitt and Octavia Bright

“Literary Friction is a conversation about books and ideas based in London. Each month Carrie Plitt & Octavia Bright interview an author about their book and build the show around a related theme — anything from resistance to corpses to race in British literature. Listen in for lively discussion, book recommendations and a little music too.” Recent authors featured include Karl Ove Knausgård, Sally Rooney & Dana Spiotta.

Minorities in Publishing by Jennifer Baker

Hosted by Electric Lit’s own contributing editor Jennifer Baker, Minorities in Publishing “discusses the lack of diversity in the book publishing industry with publishing professionals, authors and others in the literary scene. In addition to talking about the greater systemic issues of marginalized representation in media, MiP also discuss guests’ personal experiences in their respective field as well as provide information of what to expect as an emerging writer/professional in this business.”

Otherppl by Brad Listi

Otherppl presents “in-depth interviews with today’s leading authors, poets, and screenwriters.” Writer Julia Jackson raved: “Brad Listi’s podcast has made me hit the pause button on my iTunes, blow off social obligations, and sit my ass down in a chair and write. The show is funny, insightful, entertaining, affirming, and, more than anything — inspiring. It easily one of the best podcasts on the web.”

Overdue by Andrew Cunningham and Craig Getting

Is there a large stack of to-be-reads piling up precariously on your bedside table? Do I hear a yes? Then Overdue, a podcast about the books you’ve been meaning to read, is tailored just for you! Every Monday, hosts Andrew and Craig “tackle a new title from their backlog. Classic literature, obscure plays, goofy murder mysteries: they’ll read it all, one overdue book at a time.”

The Paris Review

Journey though an audio odyssey through the life and times of The Paris Review, featuring a phantasmagoric blend of classic stories and poems; interviews with the likes of James Baldwin, Jack Kerouac, and Dorothy Parker; and new work and original readings by the cutting-edge writers of our time.” Episode 10 featured “David Sedaris reading Frank O’Hara, Mary-Louis Parker reading Joy Williams, Dakota Johnson reading Roberto Bolaño, John Ashbery scored by musician Steve Gunn and and The Paris Review’s Southern Editor John Jeremiah Sullivan singing Robert Johnson.”

Reading Women by Kendra Winchester and Autumn Privett

“The phrase ‘women’s literature’ is often associated with fluffy novels about women looking for mates or covers with lipstick and glitter on them. It’s high time that women reclaim the phrase. The goal of the Reading Women podcast is to bring previously anonymous women to the forefront of your TBR stack. Each month Kendra Winchester and Autumn Privett pick a theme and then discuss several books in a book club-style podcast. Listen to Reading Women to discover amazing female authors who are giving voice to a part of the world’s population that has been largely overlooked.”

So Many Damn Books by Christopher Hermelin and Drew Broussard

“Christopher Hermelin and Drew Broussard recognized kindred literary spirits in those snarky-yet-insightful comments they were both posting about books and reading. And then it happened. An idea was born, over cheap beer in a SoHo dive bar. It would be a podcast unlike any other. So Many Damn Books blends the high and the low, the wicked and the divine, the sober and the not-so-sober, the famous and the infamous. Author guests, special drinks, and more book recs than you can shake a stick at — what more could you need?”

Why the “Good Place” Personality Test Is Better than the Myers-Briggs

First: The Good Place is a sitcom about a woman who ends up in the “good place” in the afterlife by mistake. You should go watch it! First season’s on Netflix. Second season’s not, but use whatever means you like — I won’t judge.

I lied. I’m totally judging — judgment is, after all, what The Good Place is about. You went and watched the show just because you wanted my approval, without even knowing why, and you — what? Pirated it? You’re such a Jason/Tahani.

Recently, artist Noelle Stevenson put forth a theory on Twitter: everyone is a “mixture of two characters on the Good Place.” The theory took off, with fans of the show eagerly adding to the evidence.

It’s pretty par for the course for people to identify with characters on a TV show — BuzzFeed in particular is famous for its identifying quizzes. And people are always trying to figure out how to break down their personalities to their most essential, atomic bits. It’s how fanciful, unscientific, and fun personality descriptions like the astrology, zodiac, and the MBTI continue to exist. But this particular formula — that everyone is specifically a mix of two characters, no more or less — was unusual and surprisingly effective. Why did it work so well?

I hope you actually did watch the show, because spoilers abound.

The Good Place is a metaphysical sitcom about morality, and what it means to be a good person. By what rubric should you be judged? What flaws are allowable? What intentions are important? What philosophers are well worth listening to? (None of them, thanks.) All four human characters find out they didn’t get into the eponymous Good Place because of a bad mixture of intent and action. In fact, their rulings were so succinct, I can chart them:

A few of the other characters in play for the “mix of two characters” theory are metaphysical beings: a demon named Michael, and an AI named Janet, which the Good Place wiki calls “a sentient database/personal assistant,” an “operational mainframe” for the Good and Bad Places. So: one made for evil, and the other made for good — although both of them, by the second season, are struggling with their identification with these very concepts.

The “good and bad” dynamic doesn’t pop up that often on personality charts. I have heard people whine that the MBTI is “inaccurate” because “there are no bad types,” and have swiftly avoided these people, those who are so eager to try to definitively figure out who the “bad” among us are through a test with no scientific basis.

Every character is defined by this interplay of action and intention, unconscious instinct and self-aware self-improvement, good and bad.

The alignment chart from Dungeons & Dragons does include evil, but it’s an outlier, and is mainly based on organizing characters for the sake of a game, rather than for self-identification. I’m not saying people don’t identify with it — but the “personality types” aren’t based on personal wrestling with morality. Good characters are motivated to do good, evil characters to do evil. It’s not nuanced — there’s no room for struggle, failure, or trying.

But in The Good Place, all six of the characters are struggling, failing, but trying to be good people. Michael and Janet are especially interesting cases in this. Michael is eager and learning to be good; Janet is contending with feelings, those strange whatsits that often hijack and defy concepts of morality (or, more specifically in Janet’s case, helpfulness).

The Good Place’s main goal, for all its intelligence, is to be funny, so its characters’ flaws are taken to extremes — all the easier to see echoes of them in your own secret foibles and shames.

Eleanor’s like a combination of all those annoying jerks you’ve met who got away with everything and never cared about how any of their actions might’ve hurt anyone. While each one of Eleanor’s actions are annoying and rude on their own — skipping out on designated driver for every work happy hour, ripping a roommate’s super expensive dress, giving someone else’s dog an eating disorder — all of them combined is a particularly potent brand of amoral, selfish jerkishness. In fact, writing that all out, it’s no wonder Michael never believed she’d “get any better.”

Tahani’s rich and famous, so her need for attention is an even bigger maw to fill than anyone else’s. But her entitlement is balanced out by how everyone — including her parents, the people who are supposed to give her attention — everyone, both strangers and family, pass her over for her sister. It’s one thing to be envious of your rich and famous friends; it’s quite another to do so when so devoid of love and so hungry to both give and receive it.

Jason’s heart might be in the right place, but I’m not sure how much that matters when you say, with all seriousness, that you solve your problems with Molotov cocktails. Regular humans just try to solve their problems with regular cocktails, not Molotov ones.

And then there’s Chidi, whose indecisiveness is so paralyzing that, in a test for his soul, he takes almost an hour and a half to choose between two fedoras.

Each character’s flaw is so big and loud that it obfuscates all other parts of their personality. This is part of their problem — part of the reason they ended up not just in the Bad Place, but in the Bad Place to torture one another for (Michael expected) thousands of years. And, to be clear, it was only in the afterlife that the human characters really even became aware of how big their shortcomings were. Their lack of self-awareness and understanding was one of the biggest reasons they ended up in the Bad Place.

The exaggerated nature of their flaws is the reason that you’re unlikely to relate to any one of them wholeheartedly, or to all of them at once — but almost guaranteed to relate to two of them a little. This is why Stevenson’s particular innovation — that everyone is a mixture of characters — is so effective. Nobody takes their real faults to such parodic extremes, but we all contain degrees of at least two major personality flaws.

The presence — indeed, predominance — of “bad” qualities sets this personality test apart — you’ll see no flattering Leo or INTJ profiles here — but even more unusual is the way it highlights the ability to change. Because The Good Place is a show about bad people getting better, relating to a character means not only relating to her flaws but relating to her struggle. That’s not something that’s usually reflected in personality tests, which purport to tell you who you are, not who you’re trying to be. But lots of people struggle to be good, and it’s the struggle that defines them. They don’t necessarily identify with good or evil, but with trying and failing. They understand morality is important, but to actually aim to be moral all the time is daunting at best, paralyzing at worst.

Because The Good Place is a show about bad people getting better, relating to a character means not only relating to her flaws but relating to her struggle.

It’s that struggle — the relatable ways they fail, yes, but also the ways in which they attempt to get better — that makes us identify with the Good Place characters, much more than any other part of their personality. Eleanor’s scheming ways can be traced to a hardscrabble life where the only person she could rely on was herself; Jason’s puppyish dopiness precludes him from thinking too deeply about the foolish things he does; Chidi’s maddening inability to act stems from his staunchly ethical compass; and Tahani’s need for attention and praise comes from a life of never being really looked at with any kind of focus. Meanwhile, Michael’s never had an impetus to be good and think of others, while Janet’s never had feelings that were all her own, and thus want to be — need to be — selfish.

Choosing two characters creates a dialectic between two kinds of flaws, two ways to be a moral failure — but also produces a more nuanced illustration of the way you might struggle and change. For example, if you were actually a Jason/Tahani, you might be driven by a sweetness and kindness that you constantly undercut with badly thought out or straight up frivolous decisions as you choose to cater to those who couldn’t care less, all in the name of a dream that isn’t really well thought out, or may even just be based on how much admiration you’d receive. If that fits you, well, rejoice in it. Because part of playing this game is in recognizing your moral failings, you are also enjoying a kind of self-awareness that escaped the main characters for so long.

In the show, the characters are motivated mainly by the idea that there should be a “Medium Place,” for people who were maybe not great but are trying, in their own way, without the self-awareness to understand the way they’re failing. We all probably belong in the Medium Place, which is why we find the Good Place characters so sympathetic.

Maybe the joy of choosing two characters from such a show is in the vein of the show’s theme: everyone’s a little bad, but what matters is that you try.


Which The Good Place Characters Are You?

You probably already know, because this test is just that good, but if you’re having trouble deciding… well, you’re a Chidi. But just to humor you, here are some signs you might look for to indicate which characters you are.

You may be a bit like Eleanor if you…have a superiority and inferiority complex, where you believe you’re capital-R Right about capital E-everything, and are judgmental, dismissive, and more than a little harsh when it comes to what other people care about — mainly because you’re so dismissive of caring in general.

You may be a bit like Tahani if you…check on Instagram or Facebook or Twitter and obsess over your Like-Retweet-Comment ratio — but are also already popular enough to regularly enjoy huge gatherings with a lot of people you call your friends. These online and offline socializing sessions somehow always end with you crying over someone dismissing you in a very hurtful way…which you then pretend didn’t matter anyway. You solve your problems by appealing to a higher authority (someone’s manager), because no one has really ever listened to you for you.

You may be a bit like Chidi if you…don’t like making big decisions because you see each decision as taking you a whole other parallel life and what if you make the wrong one and mess everything up and you’ll never be happy again? Then again, when the universe presents you with a ready-made decision, you will assume it’s absolutely correct, ignoring any part of it that might seem off to you.

You may be a bit like Jason if you…only skimmed this article. Somehow you end up in situations where everything is in fire (figuratively, hopefully), and you can trace exactly what actions led you to that place. You tend to act before thinking, and then solve your problems by…acting again without thinking. You once solved an argument with a hug, and you use that tactic regularly, despite diminishing returns.

You may be a bit like Michael if you…are the type of person who says they hate drama, but actually love love loves drama. You just know exactly what to say to people to get them to let you invade their friend circles to wreak sweet, sweet havoc. You also find other people fascinating in a sweeter way than you can admit.

You may be a bit like Janet if you…are reading this article maybe because a friend sent it to you and wants to discuss it with you. You are so nice and everyone loves you, but you are always creating higher and higher bars for yourself, so you feel like you’re failing when everything is actually fine. If you have and acknowledge your own feelings, the world will not be destroyed, I promise.

A Sci-Fi Dragon Dystopia à la Jane Austen

I met Chandler Klang Smith in my first workshop in Columbia University’s MFA Program in fiction. The class, taught by Nicholas Christopher, was not Chandler’s first (she was a full year ahead of me in the program) yet I distinctly remember her welcoming me and my oddball fiction into her orbit with a wry, bright-eyed exuberance. That was before I knew we shared an aesthetic of darkly inflected fiction of the fantastic; the intention isn’t so much to write literary genre fiction but, as Chandler calls it, to consciously “do genre.” We commenced being friends, have continued to be; old kinships die hard, it seems.

Purchase the novel.

Chandler and I published our first novels (Goldenland Past Dark and Shadows in Summerland, respectively) with Canadian indie genre press ChiZine Publications. Over the years we’ve continued to reconnect in various, telling ways: I solicited Chandler for her dino-horror story “Peaceable Kingdom” in Gigantic Magazine’s “Mini-Monster Issue”; in our literary social lives, we’re two of only a few people I know who attend both mainstream writing conventions like AWP and smaller, quirkier ones like Readercon. So, imagine my delight when I found out that Chandler would be publishing her dystopian dragon-opus, The Sky Is Yours, with Hogarth/Crown early this year. The novel is a marvel: a smart, ribald and relentlessly imaginative tale about three troubled teens making their way through a fallen world of psychotropic chewing tobacco-dealers, monster cults and, yup, you guessed it, big-ass dragons. Recently, Chandler and I connected over email to discuss Jane Austen’s dystopia, maximalist world-building, and “adult sexuality, neurosis and intoxicants” in high fantasy.

VAN YOUNG: Although The Sky is Yours could be easily categorized as dystopian or post-apocalyptic, in many ways it also has the feel of a 19th-century novel. It’s leisurely — even digressive, at times — and seems to take a deep delight in the elasticity of the sentence, recalling Edith Wharton or the Brontës, perhaps. At the same time, however, it’s intensely cinematic, both in terms of theme and vision. (I privately like to think of it as a soupcon of the movies Reign of Fire and Brazil, and the novels Station Eleven by Emily St. John Mandel and We Have Always Lived in the Castle by Shirley Jackson.) In this way, it’s like 19th-century novel with 21st-century privilege of hindsight. Was this a conscious move on your part? How did you conceive of the novel when you were writing it?

KLANG SMITH: Brazil is probably my favorite movie and was absolutely a conscious influence. And House of Mirth and Jane Eyre were both books I returned to when working on my character Swanny’s arc. So you’re totally on my wavelength here.

One of my goals in writing this novel was to actually do genre — not just to reference different kinds of stories in a surface-level way, but to deliver on some of their pleasures by employing mechanisms and strategies that make them work. You could imagine this as a sort of “combining mecha” image. Each genre piece needs to function independently, but all those different pieces come together and (ideally, anyway) merge into a single kickass robot that is the novel as a whole.

The Sub-Leaser

Still, I think this does mean the book feels digressive, because the different parts of the story have wildly different stakes, paces, and tones. For instance, the first third of the novel prominently features a marriage plot. I love Jane Austen, and my goal here was to actually do a marriage plot, using some elements that fascinate me about the “Austenian” genre, so speak: witty banter (and cutting remarks), meddling relatives, the uncomfortable intrusion of real estate and financial concerns, not to mention sexuality, and a weird focus on ancestry, family reputation, and heirs. I think that Austen’s novels are among the most dystopian I’ve ever read, in terms of showing characters (especially women) chewed up by a human-made system that slots them into narrow roles. So I wanted to make that part of the dystopia I was creating, too.

I think that Austen’s novels are among the most dystopian I’ve ever read.

VY: I love the idea of Austen as dystopian, and the idea of consciously writing into genre rather than only riffing on it with the sly meta-awareness to which we’ve become accustomed in so-called “genre-bending” literary fiction. I think there’s something incredibly romantic and lively in that notion, and your novel embodies it. Because you’re right, of course — after the marriage plot concludes, The Sky shifts into something much more akin to a grotesque, picaresque adventure of sorts. A taut one! Yet even as the novel barrels forward, it never privileges plot over continuing to build its meticulously constructed fictional universe. Where do you stand on “world-building technique” in fiction — specifically genre fiction? You seem to me somewhat of a maximalist.

KS: For me, world-building ultimately serves to answer one question: what options do the characters have? Because even in the most boundlessly imaginative universe, limitations and obstacles are necessary to force characters into conflict or compromise, thus creating tension and propelling the action forward.

When we read contemporary realistic fiction, we approach it with certain assumptions from our own experience about what’s possible. For instance, we understand that a character can’t travel from New York to Paris in an hour, or throw a lavish party for free. We can often figure out subtler stuff, too, like what’s likely considered socially acceptable in the person’s subculture versus what presents a serious risk to their status quo. In other words, we go in with a strong grasp on what the character’s options are, and thus the choices they make tell us something meaningful, either about who they are or what they’re up against.

More Thoughts about Worldbuilding and Food

But when we read speculative fiction, especially speculative fiction that’s set in an entirely imagined world, the author has to explicitly establish what’s possible for the characters, usually by focusing on two sub-questions: where can people go and what can they do? This is why fantasy novels often have maps in the front — because we haven’t gone from the Shire to Mordor ourselves, the map shows us what it means to commit to that journey.

This is all way of saying — yes, with this book, I was totally a maximalist! Because I really wanted to give readers enough context to draw conclusions about what the characters’ decisions meant. Pretty early on in the writing, when I was working on the sections about Swanny’s upbringing, I realized I had my work cut out for me in this department. I wanted to establish that the Dahlbergs were aristocratic but living beyond their means, financially tied to the sinking ship of their manor estate and desperately looking for a way out…which lead to a lot of embroidering in of detail about the setting of that house in particular and Wonland County in general. Here’s hoping readers find it interesting!

VY: That’s a nice, practical breakdown of world-building, which can sometimes seem superfluous even in the best speculative fiction — though not in this book, where everything seems carefully selected and essential. The early Swanny scenes you mention were so evocative to me. Indeed, Swanny endlessly teething away in her decrepit ancestral manor put me strongly in mind of the vampire queen from Angela Carter’s “The Lady of the House of Love” (which is itself allusive to Sleeping Beauty). While Duncan’s Uncle Osmond seemed a sure match for Uncle Julian in Shirley Jackson’s We Have Always Lived in the Castle; Sharkey, at times, reminded me of any one of the gangsters from Graham Greene’s Brighton Rock. You may well be playing with archetypes here, but I found many aspects of this novel to be heavily allusive to others in this very playful, animated way. Can you talk about your book in that capacity? As a kind of allusive treasure hunt for the observant literary reader?

KS: No question, I wanted readers to discover unexpected resonances with books they already knew and loved here. It’s funny, though, because the works I used as reference points aren’t necessarily the first or only ones that get evoked. I’ve never read the Graham Greene novel you mentioned, for example; with Sharkey, I thought more about characters like Bill Sykes from Oliver Twist and Bill the Butcher from Scorsese’s Gangs of New York. But I don’t think that makes the comparison invalid — texts are constantly in conversation with one another, and lines of influence aren’t always direct.

Throughout Sky, libraries keep popping up as important settings — there are private libraries in the Dahlberg and Ripple mansions, the first place the teenagers visit when they enter the city is the public library, and Sharkey has hoarded most of the books in Torchtown for his personal collection. It wasn’t something I thought about consciously while writing, but as I edited, I realized how appropriate it was, since the book itself is a kind of library, a space formed out of other stories’ spines.

The book itself is a kind of library, a space formed out of other stories’ spines.

VY: And this applies to film, as well. The Sky is Yours is deeply cinematic, part of what makes it so accessible. What are some films (besides Brazil) that influenced how you conceived of the novel? How has the ubiquity of film — and the language of film — in our daily lives influenced the way we tell stories on the page, in your personal experience and more generally?

KS: As you know, parts of this novel literally appear in screenplay format, and the character Duncan Ripple’s imagination is heavily shaped by ads, porn, reality programming, video games, and other types of on-screen entertainment. I wanted to show how powerful, how seductive, those types of visual storytelling are. Ripple’s fantasies exist in a cinematic vocabulary; to show them any other way would be a distancing translation. When you write from the POV of a character, you have to perform their interiority on its own terms.

Ripple is drawn to a lot of shallow stuff, so in that sense I meant it as a critique. But personally, I also love movies, and they massively influence how I engage with the world. My most vivid memories unreel like films, and when I’m working on fiction, I make movies of the action in my head. I could endlessly list filmmakers who are important to me, but in addition to Terry Gilliam, the essential one is Stanley Kubrick. His obsession with detail, and his ability to go hard in the direction of whatever genre/aesthetic he was pursuing, has been inspiring me since I first saw Dr. Strangelove as a kid. I know I’ll be watching those movies for the rest of my life.

What Jane Austen Looked Like According to Forensic Science

That said, my experimentation with form is less motivated by seeking to emulate movies and more driven by a desire to do something movies can never do: to draw attention to the appearance of different types of text on the printed page. There’s sometimes an idea that, for writing to be cinematic, the prose has to melt away, make itself invisible. But I’m trying to make it hyper-visible — to tell the reader, “OK, I’m asking you to imagine this part as a movie,” and invite questions about what that means.

I love taking advantage of something that’s unique to the medium of writing, and one way to do that is to use typography and formatting deliberately, to evoke associations and response. I think that as writers, we’re competing with a million other forms of entertainment and we need to make an argument for why our narratives need to exist in a medium that requires so much active engagement and investment from readers.

VY: The Sky is Yours, like a lot of the best dystopian fiction, puts a character (Ripple) on a path of desensitization vis-à-vis porn, reality shows, and the rest. Ripple — not to mention Abby, marooned on her trash-island, or Sharkey, exploiting the disenfranchised — becomes a kind of living cautionary tale for what can happen when someone comes into full, unregulated contact with a morally decrepit culture. A debauched, overgrown test-tube baby of sorts. As you were generating the novel’s satirical DNA, were you drawing from anything in particular in our own day and age?

KS: Well, as Margaret Atwood herself has famously said, dystopian fiction is really about what’s happening now, and that’s absolutely true for The Sky Is Yours. Some of the parallels with our world are pretty obvious: income inequality, gentrification, mass incarceration, pollution, genetic engineering, and more all get referenced in highly visible ways throughout the book. I was basically performing thought experiments, asking myself, what would this tendency in our culture look like taken to an even farther extreme?

The one almost eerie, ripped-from-the-headlines connection between the book’s universe and ours is the similarity between the Ripples and the Trumps. They’re both would-be aristocratic families that have leveraged their wealth into personal branding and reality show fame; they’re both characterized by tacky decadence and despicable sexual politics. What’s weird is that I started writing this novel long before the 2016 election. I only knew Trump from The Apprentice, and as a business mogul/media impresario. But the idea he (and others like him) represented for me — that money can buy a license to manufacture your own reality, which can then be packaged and sold to others — grossed me out so much, it seemed to merit excavation in my fiction.

As Margaret Atwood herself has famously said, dystopian fiction is really about what’s happening now, and that’s absolutely true for THE SKY IS YOURS.

VY: I can certainly see the crossover between the Trumps and Ripples; I’d wondered that myself. The Ripple family — Duncan specifically — not only forms part of the novel’s satirical backbone, but also feeds into its extremely bawdy sense of humor, which I loved. It’s worth noting, however, that this isn’t always something you see in “hard” fantasy. It can either be overly chaste, on the one hand, or laughably self-serious on the other. Can you speak to the raunchy, offbeat sensibility of The Sky is Yours? Were you consciously pushing against the norms of “hard” fantasy in going that route?

KS: I do parody some fantasy tropes in this book. I’ve watched a ton of animated shows like Futurama, Rick and Morty, Apollo Gauntlet, and other Adult Swim programming that lovingly send up classic speculative premises. So that anarchic vibe has seeped deep into my brain. And I love Lev Grossman’s The Magicians series, which critiques children’s fantasy literature like Narnia and Harry Potter by injecting similar worlds with a large doses of adult sexuality, neurosis, and intoxicants.

I wonder, though: is humor really less common in fantasy than in other genres? I’m not sure if they count as “hard” fantasy, but writers like Michael Swanwick, Jeffrey Ford, and Jonathan Carroll are all irreverently hilarious. And Jonathan Strange and Mr. Norrell by Susanna Clarke — which is one of my desert-island reads, and absolutely a book that’s concerned with exploring the consequences of magic in a realistically depicted world — is peopled with grotesque, Dickensian characters that frequently crack me up. So I don’t necessarily consider humor and the fantasy genre at odds. Honestly, I think humor is just a marked choice in contemporary fiction generally. There are certainly funny “literary” authors, but across the board, going comedic comes with a risk of not being taken seriously.

I don’t consider humor and the fantasy genre at odds.

VY: Point taken! I probably just haven’t read enough quality fantasy. I’d like to break with discussing your wonderful novel a moment to touch on your trajectory as a writer. You’ve been steeped in the NYC publishing industry, and published with an indie genre imprint. Has having one foot in the world of mainstream literary fiction and one in the world of indie genre fiction affected your writing and/or identification as a writer in any recognizable way?

KLANG SMITH: I’ve actually thought about writing an essay on this very topic, but I’ll try my best not do that here.

For readers not super familiar with my trajectory: before The Sky Is Yours, I published a shorter novel with an independent Canadian press, ChiZine Publications. (The reason Sky is billed as a debut is because it’s my first book from an American publisher.) My connection with CZP brought me into more contact with the speculative fiction community here in NYC: I became close with a couple of excellent NYC-based writers they’d published — Karen Heuler and Nicholas Kaufmann — and I started regularly going to the Fantastic Fiction and NYRSF reading series. Since then, I’ve been a guest on Jim Freund’s Hour of the Wolf radio show, a panelist at Readercon, and a juror for the Shirley Jackson Awards…so I consider myself 100% a member of the SF community at this point. And I think that feeling’s mutual. I feel really supported and valued by people I’ve met through that scene.

But — you know that expression, “Wherever you go, there you are.” Wherever I go… I’m a weirdo. When I was in college, I took a course called “The Personal Canon” with the author Lucy Grealy. For the class, you could read basically whatever interested you, and then report back your findings to the group. We read eclectically, ahistorically, omnivorously, trying to dowse out the weird sources of our own pleasure. Maybe I learned her lesson too well, because that’s still the way I read. I’m never interested in a book just because it has time travel, or robots, or faeries; I’m also never interested in a book just because it’s set in suburbia or against the backdrop of the Civil War. I’m always dowsing for that underground energy, for that special vibration signaling that the book offers a really unique take on whatever it’s tackling. And I think that can make me an outlier, because a lot of readers — on both sides of the “literary/SF” divide — have much clearer preferences for certain kinds of literal content.

7 Literary Mashups We Need Somebody to Write Right Now

Every writer (and reader!) eventually encounters the worry that there are no new ideas, and that everything created or consumed for the rest of time is doomed to be a retread. (It’s especially easy to feel this way at a time when Twin Peaks and The X-Files are on the air and Ghostbusters and Trainspotting are recently in theaters.) There are a couple of ways you can go with this fear. You can dedicate yourself to chasing the dragon of innovation, making sure you’re breaking ground in a way nobody’s ever seen before — or you can really lean into it.

The upcoming book Pride and Prometheus is a stellar example of the latter approach. The premise: Elizabeth Bennet’s sister Mary falls in love with Victor Frankenstein. “Sure,” this book seems to be saying, “maybe there are no new ideas. But there are definitely two old ones.

This got me wondering: What other classic books deserve a mashup to make them feel fresh? If you’re suffering from the anxiety of influence, here are seven derivative—and yet brand new!—ideas to get you started.

Mrs. Gatsby

Mrs. Dalloway by Virginia Woolf and The Great Gatsby by F. Scott Fitzgerald

On holiday from Oxford, a young Jay Gatsby — post-war, pre-West Egg — runs into Clarissa Dalloway as she bustles through the streets of London getting ready for a party. Already something of an entertainment savant, he gives her advice on party planning and helps her pick out flowers. They bond over feeling ill at ease in their upper-crust lifestyles and still being in love with girls from their respective pasts. Clarissa leaves her husband and Jay never goes back to the U.S.

The Master of the Baskervilles

The Master and Margarita by Mikhail Bulgakov and The Hound of the Baskervilles by Sir Arthur Conan Doyle

The giant demon-cat Behemoth gets wind of a giant demon-dog haunting the English moors. Intrigued by the prospect of a canine partner in crime, he flies to Baskerville Hall just in time to see the dog unmasked as a perfectly normal animal coated in phosphorescent paint. The dog is ashamed at the revelation, which touches Behemoth’s usually haughty heart. He grants the Hound infernal powers, including speech, flight, and glowing by itself, and the two of them go on to terrorize a swath of Europe and Asia running from Siberia to the British Isles.

Invisible Men

Invisible Man by Ralph Ellison and The Invisible Man by H.G. Wells

Expelled from school, the nameless narrator of Ralph Ellison’s novel travels to New York in the hopes that someone will credit his letter of recommendation enough to offer him a job. While there, he is directed to a mysterious English gentleman named Griffin. Though Griffin sees that the young man’s document is actually a poison pen letter, he takes a liking to the former student, and employs him as an assistant. The youth gradually opens up to Griffin about the experience of black men in America, and Griffin, forced for the first time to reckon with what was white privilege when he had skin, offers to use his invisibility for the betterment of society. The two of them become partners in violent anti-racist revenge, with the young man as the brains and Griffin as the muscle. They are never caught.

To Kill a Predator

Lolita by Vladimir Nabokov and To Kill a Mockingbird by Harper Lee

As they road trip across America, Humbert Humbert tries to avoid drawing attention to his teenage captive—but he can’t escape the gimlet eye of Atticus Finch. Finch sees the pair in a diner, recognizes that something is off, and alerts the authorities. Usually a defense lawyer, Finch chooses to represent the prosecution in Humbert’s trial. After winning the case, he adopts Dolores Haze and raises her alongside his own children, dealing kindly and frankly with her trauma and offering her unconditional support. Also, Go Set a Watchman never happens.

One Brother to Rule Them All

1984 by George Orwell and The Lord of the Rings by J.R.R. Tolkein

Big Brother and the Eye of Sauron meet on an alt-right message board. At first, all they’re doing is trading tips and tricks for complete domination—but is there something more blossoming between them?

Of Rabbits and Men

Of Mice and Men by John Steinbeck and Watership Down by Richard Adams

Lennie’s reputation precedes him when he stumbles into the California field that is the latest home of the rabbits of Watership Down. (Blackberry figured out how to work a much bigger boat this time.) None of the rabbits want to let him get anywhere near them—until Bigwig volunteers. “If General Woundwort couldn’t kill me, I’m not afraid of this embleer piece of vair,” he says. Bigwig turns out to be the strongest, most robust rabbit Lennie has ever handled—and, as it happens, he really likes being petted. The two become stalwart companions until they both die of starvation because it’s still the Great Depression.

Instant Club Hit of Solomon

Song of Solomon by Toni Morrison and Beelzebubba by the Dead Milkmen

“Milkman” Dead and the Dead Milkmen leave troubled family histories behind and instead go to the Philly Pizza Company and order some hot tea.