A Love Affair Preserved by a Petrified Fetus

“Stone Baby”

by Michelle Sacks

Madame Monique of Riad Bovary in Fez, a once-beautiful Frenchwoman who didn’t seem to object to the waning of her youth or beauty, was up every morning at six a.m. It was always the same. She rose, drank the strong coffee prepared for her by Hassan and brought to her door on a silver tray, wrapped a scarf around her neck, and went downstairs. It was her favorite time of day. Too early for the guests to be up or for the rest of the staff to arrive. Only stillness, silence; the soft rattling of Hassan in the kitchen and the song of the swifts in the orange trees outside.

The sight of the riad in the morning light took her breath away. It was magnificent, the crumbling walls, the chipped remains of mosaics — everything meticulously restored and returned to its former glory. It made her feel like Scheherazade, installed in a palace, a living work of art. It had taken years and almost all her money, but she’d refused to stop until the place gleamed. A testament to her love of the city. A testament to love itself, which was more or less the same thing. She had visited the Taj Mahal some months ago on a trip to India. She wanted to see what Shah Jahan had built with his grief, this wonder of the world and the great monument to overwhelming love and despair at his wife Mumtaz’s passing. She expected to feel deeply moved when she saw it, but it was home that she longed for: these walls, this marble under foot. Riad Bovary was her mausoleum, the spectacular resting place of her great love, her only love. There was nothing else that could come close.

On the bus back to Delhi, she had closed her eyes against the heat and listened to two young women talking in English. The one sighed and said, can you imagine someone loving you enough to do all that? The other replied, hell, I’d settle for a bloody second date. Monique wanted to interrupt them, to say, no, it’s true, such love exists in the world! I have known it. She wanted to touch the taut skin of their faces and look into their bright eyes and see all the lives that were yet to unfold. She said nothing, only put her hand into her pocket and rubbed her thumb against the hard smooth baby secreted inside.

She was twenty-one when she came to Morocco. A girl, practically a child. It was on her father’s insistence that she visit, he wanted her to sleep under the stars of the great Sahara, a rite of passage he had shared with his father and one he had dreamed about enjoying with his own son. But Eduard was dead and buried, and a daughter was all he had left. Claude, her father, fancied himself an adventurer. He had joined de Gaulle’s Free French forces during the war, led troops through North Africa, and in the process fallen hopelessly in love with the continent all over again, with the endless expanse of sky and sand and the humbleness of the people, who appeared to him both regal and in possession of some arcane wisdom and grace. After the war, he returned to France with great reluctance. He was already married, his wife had suffered enough with his absence during the war, she would not consent to further marital sacrifice and a life spent living out her husband’s colonial fantasies. They rented a tiny apartment in Paris, a room really, with a little stove and a bathroom down the hall shared by everyone on their floor. It felt like prison to Claude, cramped and airless and achingly dull. He contemplated running away and once almost did, but then his wife opened her bathrobe one morning and showed him the bump that was forming.

In Marrakech, Claude had guided his daughter through the rabbit warren of the medina, past the carpet sellers and herbalists and the men sitting street side drinking pots of mint tea and arguing about the world. He knocked on the tiny wooden door of a crumbling house and, when it opened, ushered her inside a magnificent riad that smelled of saffron and lemons. The owner of the house was Omar, onetime soldier and longtime friend of Claude’s. The two men greeted each other with kisses on the cheek. Omar summoned his children and grandchildren from the other rooms and as the two families smiled and kissed, Monique was struck by the man her father appeared to be in this faraway place. It was Friday, Omar’s wife had prepared couscous with lamb and vegetables. She presented the food on a dish so large it required her two sons to carry it. They sat upon cushions on the floor around a low table.

Eat, eat, Omar urged, and she watched her father stick his hands into the food and scoop out a handful of warm couscous. He shoved his fingers into his mouth, licked the fat, and declared it delicious. The rest of the family put their hands into the dish, ate hungrily. Try it, Claude instructed his daughter, go on. She put a few fingers into the food, gingerly scooped some up, and put it into her mouth. It was the best thing she had ever tasted. She smiled, she ate more; her father gave her knee a pat.

Good girl, he said, that’s it, and she felt he had never been prouder.

In Paris she had a boyfriend, a sweet but dull man who loved her a little too much. She expected that he would propose soon enough and she would be obliged to say yes. The idea filled her with mild dread but she hid it well. Her mother was terribly excited about the prospect of a son-in-law who was a lawyer. Claude took her to Volubilis, to the ancient Roman ruins, they visited Fez and stayed in a riad that had once belonged to the philosopher Aziz Lahbabi. They got lost in the medina’s elbow-wide alleyways, paid children to lead them back to where they came from. In the markets, they sampled dates and pastries heavy with honey and orange blossom, they ate tagines cooked for hours over coals piled onto little corners of the street, and never refused the offer of a mint tea with a curious stranger. Everywhere, Claude spoke Arabic like it was his mother tongue. Monique was struck by how easily her father fit into this world, as though it was here that he belonged all along.

You’re so happy here, she remarked, and he nodded sadly.

From Erfoud, they headed into the Erg Chebbi desert, guided by Addi, a six-foot Tuareg man with a wide smile and green eyes. He had brought two camels, one for Claude and one for her. He would be on foot, and shoeless. The camels were not easy to ride over the dunes, their spindly legs seemed to give way from time to time as they struggled downhill. Monique held tight to the metal handle, felt her muscles tense and relax as she tried to move in rhythm with the animal.

You’re doing splendidly, Claude called to her.

Yes, yes, Addi agreed, your daughter is very good Berber!

The animals were flatulent and uncomfortable, but the desert — the silence and the vastness and the feeling of being alone in the world — it was magic. The first day they trekked eight or so hours, stopping only briefly for a modest lunch of nuts and fruit prepared by Addi. After lunch they continued on until they reached a small Berber compound.

We will rest here tonight, Addi said, and he helped them off the camels.

They ate a meal of vegetables and chicken, cooked in a tagine buried in the sand since the morning. The chicken’s head and feet sat in the dish, pale and fatty. As the sun began to set the sky turned pink and then orange and then black. It was the most beautiful thing Monique had ever witnessed. They sat under the stars, father and daughter, silent and content. A Berber woman covered head to toe in robes and scarves ushered them into a tent laid out with carpets to sleep upon.

It’s safe, Addi said. Berber carpets dyed with saffron to keep away the snakes!

They slept deeply and in the morning set off once again, this time with a different guide. I am Bakai, the man said.

He spoke to them in perfect French, inquired about their night and if their dinner had been satisfactory. He had gleaming white teeth and eyes dark like onyx.

Are you also Tuareg? Monique asked.

No, madame, he replied. I am a nomad.

Bakai, in his blue djellaba, also walked barefoot.

Is the sand not hot? Monique asked.

He smiled, I am used to it, he replied. It is easier for me to walk without shoes.

Claude that day seemed to be in a slight decline, perhaps too many regrets or memories at the surface. He spoke little, and rode off at a distance. Monique and Bakai had hours to talk. By the time they reached that night’s Berber camp, it had already transpired: Monique was in love. She loved the way Bakai moved, his muscles neat and perfect under the robes; she loved how he spoke, his voice deep and soft at the same time, liquid almost. He took care with her, held her hand as she dismounted the camel, offered her water and tea and looked into her eyes and through to the other side; she could hardly breathe with his gaze upon her.

That night, as her father snored in the tent, she lifted the blankets off her and slipped outside into the cool desert air. The stars were out, lighting her way as she walked softly with the sand underfoot. The camels were tethered together, each one with a hind leg bound to prevent it wandering off. It was heady, the night and the stars and the smallness of everything but the sky. She headed slowly toward the dune, felt her heart pump with blood as she climbed to the top. Looking down, she could see the tents and the camels, tiny dots in a sea of sand, a microcosm of life as opposite to her own as one could get. You are alright, madame? It was Bakai, he had followed her up the dune, as she had hoped.

Oh yes, she said. I think I have never been better.

How strange the life that finds you, the life that snatches you from everything you know to be true and holds you fast and firm in its grip, refusing to let go. She did not return to France with her father, or with her mother, who made a special trip out to Morocco to try to persuade her daughter of the lunacy of her decision.

I will never return, she declared.

Bakai it turned out was married already, with several children and one on the way. He could offer her nothing more than a few stolen days every few months, between time in the desert and time with his family. Still, it was enough, anything was enough; those hours together sacred and exquisite. She moved to Fez, rented a little room with a family but soon realized that she would need privacy in order to avoid scandal. She wrote to her father and begged him for a loan. She implored him to understand her decision, to allow her to honor her great love.

I suspect your life was not in the end the life of your choosing, she wrote, I believe that when we fight our destiny we die a little more each day, until one day nothing is left but the negative space once occupied by dreams. Please Father, she wrote, please help me. He wired her the money the following week, enough to buy the riad and a little left over to fix it up. She called it Riad Bovary to be ironic, and maybe a little dramatic, but it suited her nonetheless and she settled into her new life with remarkable ease. Madame Monique, the locals called her, always a little awed by the young French girl who lived alone in a faraway place.

You have no husband? the women asked, and when she replied that she did not, they shook their heads and speculated among themselves what the reason for such misfortune might be.

Bakai visited when he could, always knocking on the door and inquiring at the desk if he might book a room for the night. She would smile calmly while her heart beat furiously and her body braced itself for the long-awaited thrill of his touch.

Yes sir, she’d say, we would be delighted to accommodate you for the evening.

He would have no bag, no change of clothing, only a stash of fresh dates wrapped in brown paper brought for her from the desert as a gift. She would have one of the staff escort him upstairs — always to the same room — and spend the hours until evening trying not to blush. After finishing up for the night, she would head upstairs, slip into her own room to change her underwear and brush her teeth, and then knock softly on the door next to hers.

My beautiful, he would say, opening up, leading her inside where they would lie entwined in each other’s arms.

In the morning she would find him on the floor, curled into the carpet because the bed was too soft. She always asked after his family and he always told her with pride about his sons, who were strong, and his daughters, who were becoming beautiful. She did not feel jealousy toward them, only some strange sense of kinship: they loved the same man, they were one family.

When her father died suddenly, she returned for a brief time to France. Her mother was old with grief, lined and brittle as if she might break.

You must come home now, she said, we are all that is left.

She helped her mother pack up the closets and bundled up her father’s shirts and books into cardboard boxes. He had surprisingly little, for a man of so many years. In the back of the wardrobe she found his journals from his time in the war and slipped them into her coat to take with her.

I think I will die soon too, her mother said, we are not meant to exist in solitude.

Perhaps you will come to Fez, Monique said. The change would do you good.

Her mother sneered, lit a cigarette, and said with bitterness, you are just like him, happiest when farthest away from me.

Monique left after several weeks, exhausted from tending to her mother’s need and from her own grief at being fatherless. But also there was something else.

In Fez, the doctor examined her and frowned.

You are some weeks along, he said.

He regarded her coldly, prodded her belly with rough fingers that gave her gooseflesh. The nurse looked on uncomfortably. They were aware that she was unmarried. There was no way of getting the news to Bakai, she could only wait until his next visit, and there was no knowing when that might be. She sat sipping tea in the kitchen of the riad, hands trembling with a mix of dread and delight. A child, her child, their child. She knew there would be difficulties, disapproval.

She started to show some months later, a rounding of her belly which no one was shy to point out.

You are getting so fat! the women at the market declared, laughing. Yes, she smiled, I am having a baby.

One of the women said something to her friend, and both women shook their heads. Faizel, who worked in the kitchen, came to her one afternoon to tell her that he was leaving.

You bring shame upon yourself, he scowled, and shame on me if I work for you.

Soon after, the others left too. They needed the money but not at the cost of their moral standing in the community. It was too great a scandal. Monique sent a telegram to her mother, asked her to come to Fez for the birth. The reply was curt, not altogether unexpected.

I have no daughter, her mother wrote.

She signed with her Christian name, not Mother, as she had always done.

Still, Monique did not feel alone those months. She felt the hardness of her belly, the sharp pain that told her life grew there, slow and steady. She made a quilt and found a man who would build her a crib. She did not mind taking over the cleaning of the rooms and the cooking of the guests’ breakfasts; she found the labor somehow beautiful, an ode to the new life she was creating. She watched as her body changed in the mirror and imagined how it would please Bakai to see her fill out. She wrote out names for boys and girls, in Arabic and in French. If it was a boy she would name him after her father.

One day at the door there stood a man.

Madame, he said in French, I believe you are short of staff.

Yes, she smiled, it seems that Riad Bovary is not an altogether desirable place to work. She indicated her belly. It is a little scandalous, she said.

Beneath the man’s djellaba she saw that he was skin over bone. He smiled at her. Perhaps we can be helpful to one another, he said.

His name was Hassan, he had crossed over from Algeria on foot. Monique hired him on the spot, sat him down at the kitchen table, and made him eat a breakfast of yogurt and eggs and oranges.

At twenty weeks she was brought to her knees. The pain was unbearable. She ordered a taxi to deliver her to the hospital. The doctor on duty slipped on a plastic glove and opened her up with his hand.

Something is wrong, he said. We will do more tests.

They took blood and urine and another doctor put on another plastic glove and felt her insides. She curled into a ball and wept, for pain and loneliness and the terror of everything unknown. They gave her painkillers, which allowed her to sleep. When she woke the doctor told her she would need an operation.

We need to remove the baby, he said.

No, she cried, you cannot take my child.

I am sorry, he said, but there is no child. Only stone.

It was called lithopedion, she learned later, the calcification of a fetus that dies during an abdominal pregnancy. A doomed child in the wrong place, suspended in time and turned into stone. She allowed the doctor to remove it on condition that he keep the baby to give to her afterward. He looked at her sadly but agreed. As the anesthetic took effect, she had a vision of herself in the Sahara, lying on the hot sand and cradling a stone. The sun beat down on her and the wind shifted the dunes until they buried her completely under sand. I am drowning, she mumbled, and then all was dark. She woke sore and in a haze. There were nurses around her speaking quietly in Arabic. She could tell that they were talking about her, motioning at her belly and at something beside her bed. She tried to make out the words but fell once more into the quiet of sleep. Later, she saw it too. The baby in a jar beside her bed. Her baby. It was the size of a golf ball, the color of sand. She opened the lid of the jar and removed it. In her belly the pain was severe. She welcomed it, breathed into the wound and gripped her fingers around the rock-hard child in her palm. The tears she couldn’t stop, and so she let them come. The nurse came up to her and touched her gently on the head.

The pain will pass in time, madame, she said.

Monique clutched the baby and brought it to her lips to kiss. Already she loved it and would forever.

The doctor came the next day with a solemn face. There were some complications, he said. I am terribly sorry.

The baby had been too deeply lodged to her insides, there was no way to remove it without taking the uterus. There would be no more children. Only the child of stone.

Is there someone I may call to collect you? the doctor inquired, and it was Hassan’s name she gave.

Back at the riad, he tended to her with great care. He brought her meals to her room and insisted on sleeping outside the door so that she could call for him in the night. She showed him the stone baby, and he held it with fascination and tenderness.

Is it a boy or a girl, he asked, and she realized that she had no idea.

It was some weeks later that Bakai appeared back at the riad. He held her in his arms as she told him of the pregnancy and the baby and the fact that she would never bear more of his children.

You are well, he said, you are here, this is what matters.

He held the baby, traced with his finger the outline of head and torso. It is a miracle, he said.

Why? she asked.

He kissed her lips and put the stone into her palm. This child we made will live a million million years. It cannot die, it cannot turn to dust.

Because the riad was empty of guests and because Hassan was Hassan, the three of them sat together and ate dinner around the table.

Hassan has been my savior, she told Bakai.

And madame mine, Hassan replied.

Bakai took Hassan by the hand and kissed him on each cheek. Then it is good we have found each other in this world, he said.

Before Bakai left again for the Sahara, he presented Monique with a gift. It was something he’d had made for her, a little pouch embroidered with gold thread that she could wear around her waist.

So you can keep the baby close, he said. He tied it gently around her and she slipped the baby inside.

It was hard sometimes to remember those years, the tremendous longing between visits with Bakai, the elation when he would arrive at the door at last. In bad seasons, he would come only once in the year, and she would read on his face the shame and the disappointment as he stood before her.

I could lend you a little money, she offered once and never again.

It had been the cause of their first and only argument. He would never consent to taking her money. There were times when loneliness gave way to despair, when the gaze of a man on the street reminded her of everything she was missing out on. There was an American diplomat who stayed at the riad for three weeks. He asked her to prepare him dinner on a few occasions, and then insisted that she join him in eating it.

So, he said, you must be running from something or toward someone. Which is it?

After dinner he pressed his lips against hers and put his hand under her shirt. You are disarmingly beautiful, he said.

She let herself follow him upstairs and in the morning washed the stains of him from her skin. There were others, always only brief and sweet. Love was reserved for Bakai alone.

The guests at the riad were often incredulous.

But you live here, they said, all alone?

Yes, she would reply, and there is nowhere else I would want to be.

It was almost true.

She read books, she learned Arabic, she busied herself with the endless restoration of the riad.

Why do you do this? Hassan asked.

She smiled, because I would like to leave something behind when I die, something perfect and beautiful.

Any money she made from the tourists she poured into the restoration, there was always something more to be done. Years when there was a little left over, she would book a flight somewhere far away. Cambodia, India, Brazil, Turkey, Jordan. She loved the smells and the colors and the food, she loved leaving and she loved the return. There was Hassan too, of course, her constant companion, her most loyal friend.

Hassan, she often said, what would have become of us if you had not found your way to my door?

He too had no family, no home but this one. There had been only one conversation between them about his life before Fez, but she could guess at the circumstances of his departure from Algeria, his lack of family ties, his disinterest in finding a wife. They made a perfect match.

Years became decades. She watched her youth leave her, slowly at first and then all at once. She was now an old woman, not yet frail, but not far from it either. Her hair was gray, her face lined with everything that had passed. Still, Bakai called her beautiful, still he kissed her with tenderness and desire. He was old too, worn by time and sun. On recent visits, she had noticed how he breathed at night, almost a struggle. She wondered how many more crossings of the Sahara he would be able to make before his legs gave way. He told her that his youngest son was almost ready to take over from him and she was glad. His wife was ill, he said, he needed to look after her. Monique, despite herself, felt a flicker of hope. If his wife died, it might be possible for him to spend more time with her in Fez.

She walked quickly now through the narrow warren of the medina, the houses in some places so close that it was hard to pass at all. After all these years she could make her way on instinct alone, finding her way effortlessly through the old town, through the vendors and the hordes of tourists on their way to the tanneries, through the winding markets past the odd donkey laden with goods to sell. At the market she waited while the man sliced wedges of flaky pancakes and wrapped them in paper for her breakfast guests. She spoke to him in Arabic, made him laugh, and felt as always the pleasure of such an exchange. From the fruit seller she bought kiwis and oranges, she sent wishes to his wife, who was having their fifth baby, and made her way back to the riad. As she opened the door, Hassan came to her.

Someone is here to see you, he said. His face was grave.

Who is it? she asked.

He took the shopping from her and pointed her to the study. He is in there.

It was a young man, and he rose as she entered the room. He wore a blue djellaba, a nomad or a Berber, she thought. She greeted him in Arabic, which made him smile. As he did, she recognized him. It could only be him.

You are a son of Bakai, she said. She sank into the sofa.

In French, he replied. Yes, I am Bakar. And you are Madame Monique.

Hassan without a word laid a tray of tea on the table and then left the room.

Bakar, Monique said. I have heard about you from your father. You look very much like him.

Bakar nodded. Yes, all my father’s sons do.

Madame Monique, he said, please forgive my intrusion of your home, I am —

Please, Bakar, Monique interrupted, tell me why you have come. Is your father ill?

Bakar shook his head. No, madame, he said. He is not ill. He has already passed. Monique heard the words but shook her head. No, no, it is not possible, she said. It cannot be so.

Her head spun, her heart a tremendous pounding she could feel in her ears. She put a hand in her pocket and squeezed, felt the cold and hard stone against her flesh. She looked at Bakar, at the face staring back at her, familiar and strange at the same time. Bakai’s son, Bakai’s son.

I am sorry, he said. I am sorry to bear this news.

Monique clasped a hand over her mouth, shut her eyes against the tears. Is it possible, she said, is it possible I will never see him again?

Bakar shifted in his seat; she remembered suddenly that she was not the only grief-stricken woman he would have had to break the news to.

I’m sorry, Monique said, composing herself. It is a great loss for your family. For your mother.

Bakar opened his hands to the sky. It is God’s will, he said. He had a good life. Many children. He knew great love. These are things to make a man happy. He cannot ask for more.

Monique nodded. He was very proud of you, she said. I can see why.

Bakar motioned toward the tea on the table. May I take something to drink, he asked. My goodness, she said, of course. You have walked, from the desert?

Most of the journey, Bakar said.

It was kind of you to come, she said. You have done an old woman a great kindness.

Bakar drank his tea and she filled his glass again. My father told me about you some years ago, he said. He spoke of his love for a Frenchwoman in Fez, Madame Monique from Riad Bovary. He would have wanted you to be informed.

Monique shifted. You must think I am an awful woman, she said.

Bakar shook his head. No, madame, not at all. I think you are a courageous woman. You followed the calling of your heart.

Yes, she said quietly. And now that heart is broken.

You must be hungry, she said suddenly. I would like to prepare you some food. And offer you a room to stay the night. Please, she said. Let me return your kindness.

Bakar nodded, that would be very welcome, he said.

She showed him to a room and went to the kitchen. Hassan, standing over a pot, held out his arms to her. She wept on his shoulder and he stroked her hair. Together they cooked a stew of chicken and vegetables, Hassan made bread and sliced up some cake left over from the breakfast guests.

Monique went to summon Bakar to lunch, but found him already asleep in the room, flat on his back on the floor. Downstairs, the Englishman was waiting with his backpack at the entrance.

You are going today? Monique asked, struggling to remember who was due to leave or arrive.

For three nights, yes, the man said. The Path of Love and Presence. In the Middle Atlas?

Yes, yes, Monique said. Mr. Tom. Of course, you are participating in the retreat. And you will be back afterward. I am sorry, she said, waving a hand in the air. Everything is everywhere today.

He smiled at her. But perhaps everything is just where it should be, he said.

They ate together later that night, Monique and Bakar, and the next five nights after that. Monique found him to be much like his father, his gestures, his voice, the way he spoke with his eyes.

What will you do now? she asked.

Bakar set down his tea. I will take over from my father, he said. As a Sahara guide.

Do you enjoy it? Monique asked.

Oh yes, he said. I am under the stars every night, all around me there is sky and space. This is everything I need for my happiness.

Monique nodded sadly, yes, she said, that is what your father said too.

And what will you do? he asked. Will you return home?

Oh, she laughed. This is the only home I have known.

There were some things of Bakai’s that had gathered in the riad over the years, shoes and books. Monique bundled them up and gave them to Bakar.

We had a child, she said. I suppose you would have been an older brother. She showed the baby to Bakar and he turned the stone over in his hands.

It is a good reminder, he said.

Of what, she asked.

That life is strange, he said, and beautiful in its strangeness.

When he left, Monique handed him two things. An envelope of all the dirhams she had in the world, and a small pouch with a stone inside.

On Dismantling the Power of White Antifeminist America

I grew up in the America which, until recently, was not often discussed, the one ruled by fundamentalists. My father became a born-again Christian in 1979, the year Jerry Falwell’s Moral Majority swept through the country. The organization was crusading against the “signs of cultural decline”: abortion had been legalized, divorce and access to birth control were contributing to the deterioration of the traditional family unit, and women, homosexuals, and people of color were petitioning for equal rights. With the election of Ronald Reagan, the Moral Majority sought to seize control of the federal government. Reagan promised, as the current inhabitant of the White House has promised, to support conservative judges who respected the sanctity of human life, “traditional family values”, and prayer in public schools.

Purchase the novel.

When I was fifteen, my father sent me to a Christian re-education camp affiliated with Mike Pence. I’ve spent much of my adulthood terrified that Christian extremists would take over America, and, at the same time, irritated that many of my peers seemed oblivious to my concerns — or they did until 2016, when 81% of white evangelicals voted the Religious Right into power with the election of Donald Trump. This past year, as I watched my deepest fears actualize, I was thrilled to discover Leni Zumas’s Red Clocks, a darkly comic novel that explores an America overtaken by Christian extremists. Zumas follows five different women navigating life in a country where the Personhood Amendment has made abortion a crime, IVF is banned, and only married couples are allowed to adopt due to the Every Child Needs Two Amendment.

Zumas is also the author of the short story collection Farewell Navigator and the novel The Listeners, and she teaches in the MFA program at Portland State University. I talked to her about American whiteness: how it feeds an antifeminist political culture, how she writes it, and how the phenomenon inspired Red Clocks.

Deirdre Sugiuchi: I love that Red Clocks is unabashedly focused on being female and having female relationships. In some ways I feel like this is the Gen X novel I have been waiting for, the one that Sassy promised I would read. Can you talk about writing a feminist novel while living in a culture and society that frequently tries to suppress feminist principles?

Leni Zumas: I was a Sassy reader, too. I once searched every drugstore in a ten-mile radius for the issue with Ian Svenonius on the cover, as Sassiest Boy in America.

While I was working on Red Clocks, a shadow-question surfaced: “Are any men going to want to read this?” But why was I asking this question? I doubt Norman Mailer was too worried about The Naked and the Dead having no women in it, or that Ernest Hemingway spent a huge amount of time wondering how female readers would connect with a novel about (mostly) male fighters in the Spanish Civil War.

I’ve spent much of my adulthood terrified that Christian extremists would take over America, and, at the same time, irritated that many of my peers seemed oblivious to my concerns.

Recently someone asked me if I consider Red Clocks to be a feminist novel. When I said “Yes, absolutely,” the woman looked uncomfortable. I am curious about people’s resistance to the term “feminist,” even if the resistance scrapes my nerves. In this case, I was talking with a very intelligent and thoughtful person who believes fiction should be free of ideology. Whereas my take is: nothing is free of ideology. We all see the world through filters. As a feminist I look through a lens of skepticism, alert to what is hidden or buried, watchful for the “violence and power concealed under the languages of civility, happiness, and love” (to borrow a phrase from Sara Ahmed’s brilliant Living a Feminist Life). Consciously and not, my writing bears the imprint of this watchfulness. As Ahmed puts it: “If we have been taught to turn away, we have to learn to turn toward.”

One way I “turn toward” in Red Clocks is by labeling the five main characters according to roles or functions: “Biographer,” “Polar Explorer,” “Wife,” “Mender,” “Daughter.” I wanted to call attention to the inadequacy of labels. All of us have multiple identities — play multiple parts in the world — yet we can find ourselves reduced (by immigration laws, magazine headlines, a conversation with a neighbor) to a single one. Or we may be asked to claim the “core” label, the role that’s more cherished than any other. At the 2012 Democratic National Convention, Michelle Obama said, “At the end of the day, my most important title is still Mom-in-Chief.” Hillary Clinton’s Twitter bio reads as follows: “Wife, mom, grandma, women+kids advocate, FLOTUS, Senator, SecState, hair icon, pantsuit aficionado, 2016 presidential candidate.” Why does “wife” come first? Why does “2016 presidential candidate” come last?

DS: Exactly! It’s such a weird bind to be female, to find yourself so often reduced to one role. I take being a mother very seriously but I never made being a mother the core of my identity. It’s unhealthy. There has been a strange shift in how being a mother, being a good mother, has been marketed over the past two decades. I enjoyed the interplay between the mothers in the book.

LZ: That’s exactly the right word: marketed. Being a mother is a role that gets outrageously sentimentalized, whether it’s by advertisers, screenplays, or your friends on Instagram. My love for my son, age 4, is boundless and joyfully animal, but not simple; in the mother role I feel ambivalence, doubt, conflictedness. I don’t find my experience well represented in the reductive American mythologies.

Being a mother is a role that gets outrageously sentimentalized, whether it’s by advertisers, screenplays, or your friends on Instagram.

In Red Clocks, when Susan (“the Wife”) runs into a fellow mom at a store, she’s overcome with loathing for this woman who feeds her kids homegrown chard and brags about the oldest one testing into a gifted-and-talented program. It’s one of the most cartoonish moments in the book, maybe because the degree of competitiveness, judgment, and performance anxiety among parents — in some pockets of our culture, at least — is so ridiculous.

For complex, thorny, platitude-resisting depictions of motherhood, I recommend Noy Holland’s recent novel, Bird; Sophia Shalmiyev’s forthcoming memoir, Mother Winter; and anything by Elena Ferrante.

DS: Yasmine is not a primary character, but her story is core to the book. Why did you choose to tell her story through the Daughter’s?

LZ: My novel is set in a state with a grim record of white-supremacist laws. Before I moved here, I’d heard Portland described as the whitest city in America, but I was ignorant of the structural racism in Oregon’s history. When it joined the Union in 1859, its constitution banned African Americans from living or owning property in Oregon; this ban stayed on the books until 1926. In the 1920s, the state legislature (which was heavily influenced by Ku Klux Klan members) passed a law barring Japanese Americans from owning land. These are just two of too many examples.

The Daughter (Mattie) is a white person becoming aware of her own whiteness. She is starting to realize how white privilege organizes her place in the world. Her best friend, Yasmine, who is black, has to endure some things that Mattie does not; and the depth of this inequity is revealing itself. The phrase “ignorant white girl” echoes through the book, and in one of the last chapters we learn why Yasmine said this. It was important to me to frame Mattie’s racial identity, more than Yasmine’s, as the site of conflict and unease. In this novel and beyond, I want my work to face the trouble of whiteness: how it’s been constructed, how its power is maintained, how we could imagine dismantling that power. Texts that have deepened my thinking on this question include Toni Morrison’s Playing in the Dark; Claudia Rankine and Beth Loffreda’s foreword to The Racial Imaginary; Ijeoma Oluo’s “The Heart of Whiteness,” an interview with Rachel Dolezal; and Lore Segal’s Her First American, a painfully hilarious novel wherein an Austrian Jewish refugee and a black American intellectual fall in love in 1950s New York.

In this novel and beyond, I want my work to face the trouble of whiteness: how it’s been constructed, how its power is maintained, how we could imagine dismantling that power.

DS: I’ve spent my adulthood frustrated with the lack of awareness of the Religious Right’s impact in our culture as a whole. Even now people don’t seem to realize the import of extremist Neil Gorsuch being appointed to the Supreme Court, of the Department of Justice issuing guidelines to protect religious freedom, and of the Trump Administration allowing employers and insurers to invoke religious and moral beliefs when choosing to cover birth control and other contraceptives. Red Clocks, with its Pink Wall, and Personhood Amendment, and Every Child Needs Two edict, seems prescient. What clued you into writing the hell in which we now live?

LZ: You’ve written elsewhere about the link between the Religious Right and these “re-education” institutions, and I was not surprised to learn that Mike Pence has done fundraising for Crosswinds, an organization tied to your former school. Pence is one of the politicians who helped me imagine our current hell. As governor of Indiana he sought to discipline and punish the bodies of women and LGBTQ people. In 2005 and 2007 he co-sponsored federal legislation that would recognize human zygotes as legal persons, thereby outlawing not only abortion but certain fertility treatments and all non-barrier forms of contraception. In 2016 Pence signed a bill (later blocked by a federal judge) that would require women who have miscarriages or abortions to pay for the fetus’s funeral.

Another radical conservative who gave me ideas for Red Clocks is Paul Ryan, a longtime proponent of so-called personhood amendments. He cosponsored the 2013 Sanctity of Human Life Act, which would grant full legal rights to a fertilized human egg.

DS: Are there any writers who inform your thinking on this matter?

LZ: I’m influenced by texts that worry the membrane between individual fate and collective predicament — that map characters (or narrative personas) onto broader grids of sociopolitical history. One of my longtime favorites in this vein is W. G. Sebald’s The Rings of Saturn. Three that recently blew me away are Hilary Plum’s Watchfires, a lyric memoir/essay-in-fragments about illness, war, family, and the Boston Marathon bombers; C. D. Wright’s One Big Self, a docupoetic photo-and-text series about incarceration in Louisiana; and John Keene’s Counternarratives, a collection of fictions that rip up American history and stitch it back dazzlingly true/askew.

DS: The mender, a forest-dwelling homeopath, helps many of the women in the book heal. Some who are suspicious of her describe her as a witch. This is not the first time you’ve written of witches. When did this fascination begin?

LZ: Like a lot of my fascinations, it started in books. Elizabeth George Speare’s The Witch of Blackbird Pond made a lasting impact, as did, a bit later, The Crucible, The Tempest, Macbeth, and Homer’s Odyssey.

I’m interested in how the figure of the crone — magical, unbeautiful, un(re)productive — defies the order of normative femininity, which wants the female body to be young, pleasing, and fertile. The Mender, Gin Percival, isn’t strictly a crone, but she is definitely not pleasing or compliant. She has stepped away from the order. Chosen to live out of order.

I’m interested in how the figure of the crone — magical, unbeautiful, un(re)productive.

DS: You used to play drums in bands (S-S-S Spectres, The Spells, Red Scare). The main character in your novel The Listeners is a musician coping with the loss of her band. In your short stories and your novels, you write from multiple perspectives. Do you think working and touring in a band contributed to your ability to write characters from different perspectives?

LZ: That’s cool. I hadn’t considered the link between music and multiple perspectives, but it makes sense: melody and counterpoint, echo and refrain, the textures built by different instruments or voices together. The link I’m most aware of is cadence: obviously kind of important for drumming, and crucial to how I think about making sentences. Syllables are beats, and phrases follow the logic of sound before sense. As my hero Virginia Woolf famously said, “Style is a very simple matter: it is all rhythm.”

DS: One of the things I loved about Red Clocks was the banality with which the characters accept tyranny. What are your thoughts on how we, as a society, respond to tyranny?

Susan Sontag says in Regarding the Pain of Others that “compassion is an unstable emotion. It needs to be translated into action, or it withers.” Horrors become familiar, habitual, with enough repetition. Battle footage from Iraq and Afghanistan, flickering for years on laundromat TVs and gym monitors: we stop seeing it. Photos of tiny boats crowded with people fleeing: we stop seeing them. (By “we” I mean Americans with access to television or the Internet.) In Red Clocks, there’s a gradual restoring of visibility, met by terrified recognition, when certain characters wake up to the political facts. It’s a half-waking, not an epiphanic or triumphant one; yet it pricks their numbness. It opens up space for action.

Submissions are Open for Personal and Critical Essays

Electric Literature is opening submissions of personal and critical essays starting today, January 2. We’re particularly interested in pieces that examine the intersection of the literary experience and other creative endeavors: film, fine art, music, video games, science, tech, architecture. Submissions will close January 16.

Some of our favorite recent personal essays include pieces about what it’s like to live without a mind’s eye, about a writer’s journey out of her father’s house and into feminist rage, and about why men have to stop telling women to read David Foster Wallace. Has a book changed your life, or has your life changed how you read a book? Do you have a personal story about your favorite story? Bring us your sad, thoughtful, funny, illuminating experiences.

Critical essays may cover a single book, multiple books, a whole genre, or non-book pop culture like TV, music, and games. In the past, we’ve been interested in why we need dystopian stories without apocalypse; the metafictional elements of Dungeons & Dragons; why people are so critical of “I Love Dick”; and why we should all have imaginary friends. Some essays may be both personal and critical, like a meditation on how angry female heroes helped a writer with her depression.

Payment for essays is $50. Length is up to you, but we suggest aiming for 1,500–4,000 words.

Submissions will be accepted on our submittable account here.

11 Books and their 11 Spectacular Trees

The year after I graduated college, I was broke. Hungry broke. So broke that I didn’t need to set an alarm clock, because my growling stomach would wake me up every morning at seven. I was living in the last house at the dead-end of a dirt road at the top of a mountain in southern Vermont, surrounded by forest, and every morning I’d get up, pour myself a small bowl of Cheerios, and read. And look at the trees. And then read some more.

That fall, I put cereal on the table by working as a woodcutter. For ten dollars an hour, I’d swing a maul, over and again, splitting piles of firewood for the winter — oak, hickory, birch, ash, locust, beech — and then I’d go home to my books. I read most of Shakespeare’s plays that year, and Goethe’s Faust, and Nietzsche’s collected works. I dove into Hemingway and Hunter S. Thompson, and I read and reread Invisible Man. It was the year I discovered Rebecca Solnit and reacquainted myself with Willa Cather. When I got paid, I’d go to the used bookstore, pick up a few titles, and then return home to read and contemplate the trees.

Perhaps it’s no surprise that my own book, This Radical Land: A Natural History of American Dissent (forthcoming in 2018), is about trees and what happened when certain nineteenth-century Americans, skeptical about the social and environmental costs of capitalist progress, looked out at them. I spent ten years reading everything about trees and culture that I could; yet what I read is only a fraction of what’s out there — even in English. It seems that humans have never tired of writing about the sylvan world.

Here are a few of those books, and a handful of the trees I discovered, a highly idiosyncratic list, that have helped to define my life. Maybe some of them will guide you through your inner forest.

Tree: Wolf Willow
Book: Wolf Willow: A History, a Story, and a Memory of the Last Plains Frontier, by Wallace Stegner

Stegner moved frequently as a child, but he spent his boyhood in southern Sasketchewan on what was the last North American frontier. His book begins when the middle-aged Stegner returns, for the first time, to his hometown, only to find it utterly strange, until he crushes a few leaves of the scrubby, silver-leafed wolf willow, and brings it to his nose. What ensues is a Proustian remembrance that blends fiction, lightly fictionalized memoir, history, and philosophy of history — “a librarian’s nightmare,” Stegner called it — every page of which is bewitching.

Trees: Palm, Cottonwood, Rubber, Holly
Book: Gardens in the Dunes, by Leslie Marmon Silko

Gardens in the Dunes is set at the end of the nineteenth century, and begins in a small pocket of bone-dry desert on the Arizona-California desert where Indigo, her mother, grandmother, and sister are the last of the Sand Lizard people. It’s the very end of the US’s unbroken war against the American Indians, and the novel follows Indigo as she’s captured, sent to an Indian boarding school to be “civilized,” and then taken in by a woman named Hattie and her botanist husband, Edward, who combs the globe for marketable plants. The trio travel widely — Europe, South America, the East Coast of the US — as Indigo struggles to find a place in a world that is being so quickly remade in the image of empire and capitalism. Silko is painterly in her evocation of nature, and each new journey of Indigo’s is marked by strange new trees. In a scene that functions synedochally for the rest of the novel, Indigo, transplanted to New York City stands, shocked, as two entire entire beeches are uprooted and replanted: “wrapped in canvas and big chains on the flat wagon was a great tree lying helpless, its leaves shocked limp, followed by its companion; the stain of damp earth like dark blood seeped through the canvas.”

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Tree: White Pine
Book: White Pine: Poems and Prose Poems, by Mary Oliver

Evergreens have long carried with them connotations of healing, of resurrection, of life everlasting — arbor vitae literally means “tree of life” — which is one of the reasons why they are used for Christmas trees. Oliver’s collection meditates on life and the passage of time measured against the environment, and it glows with spiritual revelation: “This is, I think,/ what holiness is:/ the natural world,/ where every moment is full/ of the passion to keep moving.”

Tree: The Tree of Death
Book: The Road, by Cormac McCarthy

The unrelenting dull despair of McCarthy’s post-apocalyptic The Road comes from his evocation of a hopeless world devoid of all but human life, which he establishes by having his father-and-son protagonists march through an unchanging landscape of dead and burnt trees. Page after page, step after step, there’s nothing but burnt forests for his characters to look upon, nothing but shades of ashen grey, nothing with which to kindle hope. And yet the father walks on, in faith. “All the trees in the world are going to fall sooner or later,” he tells his son. “But not on us.”

The Girls Who Turned into Trees

Tree: Tree of Life
Book: Unchopping a Tree, W.S. Merwin

Merwin’s poem, Unchopping a Tree, elegantly bound in a hardcover edition from Trinity University Press, brilliantly captures the poet’s twin commitments to environmentalism and pacifism, both of which, at root, are about a practice of care. There’s a deep sadness to Unchopping a Tree, which imagines what it would take to put just one felled trunk back together so that it could again live. Along the way, the reader gains a sense of just how carefully, fragilely, and perfectly life teeters on the edge of oblivion. “Everything is going to have to be put back,” Merwin ends on a note that blends resolve with desperation.

Tree: Mangosteen
Book: The God of Small Things, by Arundhati Roy

Roy’s first novel is a tragedy set against the enduring ravages wrought by British colonialism in India that left marks on bodies, on lives, on politics, and on the land. The story follows a pair of young, innocent twins, Estha and Rahel, who one day discover an old boat lying beneath a mangosteen tree that their great-grandfather, a minor religious celebrity known as the Revered E. John Ipe, had planted on the banks of the enormous Meenachal River. Estha and Rahel, and, later, their British cousin Sophie Mol, take to playing in the boat — the same boat used by their mother to cross the river at night and meet with her Paravan, Marxist lover, a violation of of both strict caste conventions and class. The same boat from which Sophie Mol will tumble and drown. The mangosteen witnesses this all, and is the mark of history: a tree planted by a well-to-do great-grandfather in colonial times, a tree sheltering the secret of illicit love, a tree under which the innocence of childhood drowns in the trauma of becoming adult.

Tree: White Birch
Book: Survival of the Bark Canoe, by John McPhee

McPhee has written about trees — or their fruits or the people who live amongst them — on a number of occasions, but my favorite, and possibly my favorite McPhee of all time, is his slim volume, The Survival of the Bark Canoe, from 1975. It’s about a young, intense man named Henri Vaillancourt, one of two Euroamericans alive at the time who knew how to make a canoe in the traditional, Native American way, using nothing but the bark of a white birch, cedar planking, spruce roots and pitch, an axe, an awl, and a knife. McPhee and Vaillancourt take one of the canoe builder’s boats down the Allagash river in Maine, and the book-length essay is a tale of clashing personalities, monomaniacal obsession (Vaillancourt does nothing but think about, talk about, and make canoes, writes McPhee), and McPhee’s quest to understand what drives someone to build a boat that had all but gone extinct. It is also a tale of artistry — only McPhee could turn the details of shaping a gunnel, thwart, or rib into poetry — that ultimately begs the unresolved question, how should we take care of the past?

Tree: Holm Oak
Book: The Baron in the Trees, by Italo Calvino

When Italo Calvin sets his magical-realist novel in a Holm Oak tree surrounded by an eighteenth-century Italian forest, he’s following in a long tradition. The woods have seemingly always been a site for fantasy, hallucination, and wonder. Try to imagine A Midsummer Night’s Dream taking place in a wheat field, Snow White in a market place, The Legend of Sleepy Hollow in Manhattan. The Baron in the Trees is the tale of a young nobleman, Cosimo, who took to living in his family’s oak tree at the age of twelve, never to set foot on land again. Aloft in his sylvan kingdom, Cosimo discovers true liberation, and, over the course of the next fifty years, fights battles, makes journeys, falls in love, and gradually turns into a Saint Francis-esque woodland sprite. He never dies, either, and instead simply floats away on a rope dangling from a passing hot-air balloon. It’s a fable, but one that resonates with Emerson’s observation that “in the woods, we return to reason and faith.”

Tree: Tree of Knowledge
Book: Forests: The Shadow of Civilization, by Robert Pogue Harrison

Harrison’s Forests is a genealogy of how forests have cultivated the Western cultural imagination, from antiquity to the late-twentieth century (the book was published in 1992), but it’s not the standard one-damn-thing-after another kind of history; instead, it’s a beautifully rendered philosophical essay that moves subtly, unpredictably, and thrillingly to its final conclusion. Facing the forests, Harrison writes, we find ourselves, not because the trees are like us — they’re irreducibly different, in fact — but because, in their unknowable difference, they set us free to become who we are. When we lose touch of the forests, we lose everything.

12 Unforgettable Forests in Literature

Trees: Hemlock and Oak
Book: “I robbed the Woods,” (or poem 41 from The Complete Poems of Emily Dickinson), by Emily Dickinson

Emily Dickinson is a paradox: haunted by loss, she gave to the world poetry that is radiant with an evergreen beauty. Dickinson, whom the cultural critic Lewis Mumford called “a rare flower,” drew her inspiration from both death and the vitality of the natural world, which, in many of her poems, are yoked together. One of my favorites, poem 41 from 1858, echoes loudly in our era of global climate change and environmental degradation:

I robbed the Woods —

The trusting Woods.

The unsuspecting Trees

Brought out their Burs and mosses

My fantasy to please.

I scanned their trinkets curious —

I grasped — I bore away —

What will the solemn Hemlock —

What will the Oak tree say?

And simply: Leaves
Book: About Trees, by Katie Holten

I just recently found Katie Holten’s About Trees, and I’ve never encountered anything quite like it. Holten, an Irish artist living in New York, invented a tree font: A is represented by the skeletal silhouette of an apple tree, B by the beech, all the way on to the Zelkova. The form of each sylvan letter is unique. About Trees is composed from excerpts of famous passages on trees, Darwin on thinking, for instance, rendered in English — and then reprinted, all on one page, in Holten’s tree font. Holten turns text into a forest, and the tremendous beauty of her art comes in the realization that the tree-font forest is both immediately familiar — as in the opening lines from Radiohead’s “Fake Plastic Trees”: “Her green plastic watering can for/ her fake Chinese rubber plant/ In the fake plastic earth” — and immensely strange. Her book is a wilderness of prose and poetry that ultimately returns us to the fact of human wondering, which we have long recorded on leaves.

Bigfoot on the Beach

Morning again. The sand fleas were bad. But everything else here, the breeze, the good rough smell of the sea air, the way daylight wakes you slowly, was better than the forest. He stretched his massive arms, feeling his shoulder muscles expand against the sand, then groggily stood up to check out what the waves were up to today.

It was flat. Low tide. The water was licked with imminent sun.

He was readying himself to run toward it, to feel the cool black current, laced with stars, rinse the fleas from his fur, when he saw it —

A cluster of humans sitting in the sand.

He got down low, then peered up slowly, scanning through the blades of salt hay to discover that there were droves of them, little clusters of silhouettes dotted up and down the beach. Some of them surrounding small pits of orange fire.

What were they doing out this early?

Usually, the crowds, with their brightly-colored shade-makers and folding seat contraptions and rectangular mats and round balls and heavy boxes full of ice, didn’t arrive until late morning, at the earliest. It takes time to move such artillery.

He had a pang of missing Littlefoot and Mediumfoot, and all their artillery (banana peels, walnut shells, vine hammocks, bamboo husks), so he tried to diffuse it by looking back at the water. Its swirls of silver were just beginning to settle his nerves, when he noticed that one of the silhouettes, a tiny one, was looking in his direction. Her finger rising up toward him.

He dove back toward his nest, crouching low in the sand. He wasn’t too worried about them coming for him yet, a child the only one who seemed to have spotted him — and who believes a child?

But still. Why on earth were they here? He had a bad feeling.

Not only was it dawn, it was winter. Usually the only humans you got this time of year were the ones who wore dark bodysuits, who lumbered into the freezing water with big white boards upon which they tried, time and time again, to stand. Those ones never noticed him. He could walk out onto the sand entirely exposed, and they would mistake him for one of their kind, his fur looking like their bodysuits from that distance, if they noticed him at all. It looked fun, trying to stand on the water. He sometimes dreamt of swimming out to one and using his eyes and gestures to ask to borrow their board. He had a feeling, a hunch, he’d be good at riding it, knowing just when to stand, when to bend. But he knew that it was probably too grave a risk. Humans, even the ones so in love with the waves they seemed more peaceful than the rest, couldn’t help their natures.

He’d always wondered why his kind bothered them so. They seemed perfectly content with deer, with squirrels and raccoons coexisting alongside them. What was it about his species that riled them up so? He was almost entirely vegetarian, liked a good termite nest, if he could find one, the piquant crunch of a fire ant, but that was basically it. He would never dream of trying to consume mammalian flesh. The thought made him sick. He wanted only their friendship, or, less than that, a benevolent disregard, neighborliness. But they were never content to leave him be. The few times he’d been spotted, his presence had always brought screams, then the raising of objects — cameras, spears, nets, guns — which one, depended on the human. The bullet wound in his lower leg still ached most days, all these years later.

Sigh. He figured his only course of action was to crawl a half mile or so low in the dunes and make his way to the water once he was further from the hoards.

He was just about to sit up, to heave himself forward to begin the four legged crawl through the grass, when the tiny human appeared on the top of the dune. For an instant, before he registered her oddly tangy, chemical smell, he pictured it was Littlefoot. Poised high on a branch, about to bound on to his chest — their favorite game… Why had he left them? The answer wasn’t simple. He had come to feel encumbered by it all. The gathering, scraping, chewing everything for everyone. Finishing just in time to start it all again.

After leaving, he had initially tried living in the woods, a few woods over from their woods, but the branches were too dangerous, hung too thickly with memories. He’d find himself yearning. For the soft plunks of Littefoot, the gentle crackling of twigs as Mediumfoot sat nursing under a tree. A dangerous force, this yearning, for he knew, if he gave into it, it would pull him back to a life he did not want.

The foreignness of the beach, its flatness, its lack of trees, its waves, even its sand fleas, was his best protection. He was safe here, as long as he had those waves. Every morning rinsing off the memories that had accumulated overnight.

The tiny creature had drawn near. Her smells of vanilla, of cucumber, were overpowering. “Hi,” she whispered, waving her furless little hand.

Though he had no idea what the word meant, he grunted back, “Hunph.”

“Are you here to see the sunrise?” she asked.

Again, he could not understand the question, though he noted its tones of curiosity. He gestured at his nest. “My home,” he said, which came out like, “Hunnn, hun, hun. Hn hn.”

“It was my mom’s idea,” said the girl. “She came up with it a few weeks ago. She said we should all stay up late to watch the ball drop on TV, and then get up early and drive to the beach so that we’d be the first Americans to witness the dawning of the New Year! My dad said, ‘Well, technically, there are some beaches in Maine that are further East, who would see it before us.’ And my mom said, ‘Arg. Why do you have to rain on my parade?’ And my dad said, ‘Not trying to be mean! Just stating the facts.’ And my mom sighed and got gloomy. But they still woke us up this morning. It was pitch dark, and I was confused at first so they let all of us stay in our jammies, and we’ve just been sitting in blankets on the sand, waiting, waiting. Mom says it’s gonna be beautiful. A fresh start. Dad says it’s gonna look like an over-easy egg, cracking over the waves. Mom said we could go out for pancakes after! But dad worried nothing would be open on New Year’s Day. Or, that for those few places that were open, the lines would be too long. And mom said, ‘For chrissakes wasn’t your new years resolution to be more hopeful, Bill?’”
The girl got quiet, conspiratorial, whispered in Bigfoot’s ear, “Bill is my dad’s name.”

Bigfoot adored this. Being chatted with. He had no idea the meaning of any of her words but believed he could register the emotions beneath them. Namely, that she was confortable with him. He put his massive black palm out toward her.

Impossibly, she rested her tiny white starfish of a hand upon it.

The contact, he was helpless against it. He was awash in Littlefoot. In his divine, loamy smell. The memories swirling into him — the piggy back rides, the walnut fights, the time Bigfoot had defended them from bees, little bastards. The honey he had extracted from the hive, amber liquid dripping off his finger, and into Littlefoot’s mouth. Littlefoot’s copper eyes, warming wide. He wondered, dared to wonder, how old Littlefoot was now. Nearly a year, up to his shin, surely. How Mediumfoot would have been faring, without him around to gather food. Then he was slammed by a horrific image. Something he felt sure was the truth. Both of them dead. Eyes picked out by vultures, rib cages protruding from the forest floor, dangling with bits of meat and matted hair.

He took the tiny human into the crook of his elbow and lifted her to his chest. She giggled and reached her arms around his neck, her little fingers twisting and pulling at his fur in clumps. The warmth of her, the size of her, so like Littlefoot. He hugged her close.

She said, “uuuf.” Then, “ow.”

And he understood this to mean hold tighter. He complied. Hugging tighter and tighter, her breathing becoming labored, gruntlike, just like his.

He could feel it, her warmth, her breath, breathing life back into the skeletal images of Littlefoot, of Mediumfoot. An illusion, he knew, but a great one. Their skin plumping up nice, their fur prickling back into thick, shiny coats, their eyes alighting with gold. He hugged tighter and tighter until the wriggling in the creature’s limbs had stopped entirely. Till there was no more warmth to squeeze out.

He let the husk of her body flop to the sand and began his slow, achy crawl to those merciful waves, the hoots and cheers of humans resounding from just over the dunes.

About the Author

Lulu Miller is a Peabody award-winning journalist for National Public Radio. She is the Co-founder of NPR’s Invisibilia, a show about the invisible forces that shape human behavior. Before that, she was a reporter on the NPR Science Desk, and a founding producer of WYNC’s Radiolab. She lives in Charlottesville, Virginia, with her wife and dog and writes stories when they are sleeping.

These 8 Books are Fiction, but Climate Change is Not

Fiction allows us to extrapolate our own futures, both on a personal level and on a societal one. With the Trump administration looking to make it easier to dig for fossil fuels and ignoring evidence of global warming, climate change has once again taken a prime position in the news, and the need for cautionary tales about the environmental path we’re on seems more important than ever. Here’s a look at eight books that explore the dangers of climate change to both landscapes close to home and on a global level.


The Windup Girl by Paolo Bacigalupi

Paolo Bacigalupi’s The Windup Girl features a number of high concepts, each of which might be enough for a gripping read. Its setting is one in which global warming has suffused the landscape, reshaping the boundaries of nations and altering the way humans live. Genetic engineering has undergone massive leaps forward, as has energy technology; the result is a work that’s both cautionary and dazzling.

Gold Fame Citrus by Claire Vaye Watkins

The Californian landscape of Claire Vaye Watkins’s heady, haunting novel Gold Fame Citrus is punctuated by abandoned homes, strange fauna, and a resurgence of the desert. It’s a setting that’s drawn from the present day: where once the homes of the affluent existed, a wasteland has sprawled, off-limits to all but the bravest or most desperate. It’s a bold commentary on where our society might end up, and how certain trends might accelerate into something hazardous and inhospitable.

Who Fears Death by Nnedi Okorafor

Climate change can affect as many landscapes as exist on Earth. In Nnedi Okorafor’s novel Who Fears Death, the setting is sub-Saharan Africa at some point in the future. The societies depicted in this book live in the wake of an earlier, more technologically advanced one, which crumbled at some point in their past and our future. What remains is an altered world and terrain, populated by a handful of people possessing uncanny abilities.

The Bone Clocks by David Mitchell

David Mitchell’s The Bone Clocks encompasses the bulk of the life of its protagonist, beginning with her childhood in the recent past, and moving forward into the middle of the 21st century. It’s in this last section that the novel becomes truly devastating: as a result of environmental and economic collapse, society has reverted to a sort of brutal feudalism. It’s an unnerving conclusion largely due to the realism and level of detail with which Mitchell conveys this world; we see it in all of its unsettling dimensions.

The Drowned World by J.G. Ballard

The novels of J.G. Ballard frequently use transformed versions of the world as their settings–sometimes to accentuate thematic points, and sometimes to explore the uncanny. (The Day of Creation focuses on a new river emerging near the Sahara, while The Crystal World focuses on a terrifying transformation of the landscape.) The Drowned World is set in a future where polar ice has melted, submerging existing coastlines and reshaping urban geographies around the globe.

Age of Blight by Kristine Ong Muslim

The title of this collection references a moment in human history when certain societal tendencies will have advanced past the point of salvaging. In other words: what happens when the surface of the planet is entirely blighted, and what will the events have been that got us there? Muslim’s stories not only explore the means by which the environment is degraded and remade, but also delve into the psychology of alienation that causes such actions to take place.

Cat’s Cradle by Kurt Vonnegut

The meanings of metaphors shift over time. When Kurt Vonnegut’s novel Cat’s Cradle was first published in 1963, its central MacGuffin–a substance called ice-nine, which would turn water into ice at any temperature–came off as a metaphor for nuclear weapons. As a story about human technology with the potential to irrevocably break the world, it now could just as easily be read as a cautionary tale about climate change, with none of its power lost.

Rubicon Beach by Steve Erickson

Steve Erickson’s novels all tap into their own surreal energy, whether they’re spinning tales of parallel timelines or returning to motifs of lost and destroyed structures. In his early novel Rubicon Beach, Erickson opts for a familiar setting, Los Angeles, but imagines that city in the not-so-distant future, when cataclysmic events have resulted in flooding of the city. The portrait of an urban space after such a transformation is one of the most haunting aspects of this unpredictable novel.

11 of the Best Love Letters in Literature, Both Fictional and Not

Somewhere in my childhood bedroom lurks an old Nine West shoe box brimming with love letters scrawled on craggy college-ruled paper. In high school, when my interest in the day’s physics or math lesson would inevitably wane, I’d turn the page in my notebook and write my then boyfriend hormone-fueled rants about my unparalleled love for him, and occasionally, in what may be a Joycean hallmark (minus the farts, see #11), the things I wanted to do with him. We traded these missives back and forth at our lockers, which amounted to hundreds of inside-joke riddled professions of young love.

Once, to our mutual horror, my dad found a stray note while cleaning out the trunk of his car. That day, I learned an important lesson about privacy and secure backpack zippers. But after a mortifying conversation, I emerged with the upper-hand, admonishing him for having the audacity to read a letter so obviously not for him. Polite company (excluding dads) know better than to read others’ private exchanges.

In literature, we are offered a rare, perhaps singular invitation into such intimate correspondences. Whether the following love letters are artfully penned in a novel, memoir, or the anthologies of long-dead greats — these 11 vulnerable glimpses into the besotted human-id are all-consuming reads.


Persuasion by Jane Austen

The reconciliation letter

When I polled friends and coworkers about this assignment, for good reason, the prevailing response fell along the lines of: “Include Persuasion, duh.”

In Jane Austen’s final, posthumously published novel, Persuasion, the heroine Anne Elliot was convinced (or some would say, persuaded) by her godmother, Lady Russell, to call off her teenage engagement to the impecunious Frederick Wentworth. Fast-forward almost a decade later, and the two reconnect via the typical Austen scaffolding of events, and it’s revealed that they’ve never truly forgotten each other.

After overhearing a conversation in which Anne argues that men move on more swiftly from their past loves, Wentworth counters her claim with one of the most highly regarded love notes in all of literature:

I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever. I offer myself to you again with a heart even more your own than when you almost broke it, eight years and a half ago. Dare not say that man forgets sooner than woman, that his love has an earlier death. I have loved none but you. Unjust I may have been, weak and resentful I have been, but never inconstant. You alone have brought me to Bath. For you alone, I think and plan. Have you not seen this? Can you fail to have understood my wishes? I had not waited even these ten days, could I have read your feelings, as I think you must have penetrated mine. I can hardly write. I am every instant hearing something which overpowers me. You sink your voice, but I can distinguish the tones of that voice when they would be lost on others. Too good, too excellent creature! You do us justice, indeed. You do believe that there is true attachment and constancy among men. Believe it to be most fervent, most undeviating, in

F. W.

Letters to Vera by Vladimir Nabokov, edited and translated by Brian Boyd and Olga Voronina

The love-dumb husband letter

In 2014, Knopf published a meticulously annotated compilation of 50+ years of correspondence between Vladimir Nabakov and his beloved wife, Vera. Although the couple had their share of obstacles (infidelity, to name one), the letters demonstrate an abiding love capable of overcoming even the most treacherous of threats (Nazi persecution, another).

In an uncharacteristic moment, Nabokov found himself at a loss of words while trying to articulate just how much he adored his wife:

My tenderness, my happiness, what words can I write for you? How strange that although my life’s work is moving a pen over paper, I don’t know how to tell you how I love, how I desire you. Such agitation — and such divine peace: melting clouds immersed in sunshine — mounds of happiness. And I am floating with you, in you, aflame and melting — and a whole life with you is like the movement of clouds, their airy, quiet falls, their lightness and smoothness, and the heavenly variety of outline and tint — my inexplicable love. I cannot express these cirrus-cumulus sensations.

The English Patient by Michael Ondaatje

The final words letter

Before the English patient sustained the burn-injuries that rendered him amnesic in an Italian hospital, he was an explorer in the Sahara Desert who fell in with another man’s wife, Katharine. At the heart of Michael Ondaatje historiographic metafiction masterpiece is this torrid affair, which ends in high melodrama when Katharine’s husband, Geoffrey, attempts a three-way murder-suicide. The English patient and Katharine survive, and find shelter in a cave. When the English patient leaves to seek help, Katharine writes him a final goodbye as she withers away in the cold, echoing darkness.

The 1992 Booker Award-winning novel was adapted for the silver-screen — watch the tearjerking performance accompanied by a tasteful amount of sad-piano below:

The Letters of Vita Sackville-West to Virginia Woolf, edited by Louise De Salvo and Mitchell Leaska

The desperate adulteress

Say what you will about the morality of affairs, but damn do they inspire some impassioned writing. Vita Sackville-West and Virginia Woolf began a covert-ish relationship in the mid 1920’s, and IMHO, the world is better for it because it inspired Woolf’s satirical, gender-bending novel, Orlando. The collection of these lovers’ letters are evidence that she had superb material to work from.

Here’s a selection pulled from the Paris Review:

From Sackville-West to Woolf

Milan [posted in Trieste]
Thursday, January 21, 1926

I am reduced to a thing that wants Virginia. I composed a beautiful letter to you in the sleepless nightmare hours of the night, and it has all gone: I just miss you, in a quite simple desperate human way. You, with all your un-dumb letters, would never write so elementary phrase as that; perhaps you wouldn’t even feel it. And yet I believe you’ll be sensible of a little gap. But you’d clothe it in so exquisite a phrase that it would lose a little of its reality. Whereas with me it is quite stark: I miss you even more than I could have believed; and I was prepared to miss you a good deal. So this letter is just really a squeal of pain. It is incredible how essential to me you have become. I suppose you are accustomed to people saying these things. Damn you, spoilt creature; I shan’t make you love me any the more by giving myself away like this — But oh my dear, I can’t be clever and stand-offish with you: I love you too much for that. Too truly. You have no idea how stand-offish I can be with people I don’t love. I have brought it to a fine art. But you have broken down my defences. And I don’t really resent it …

Please forgive me for writing such a miserable letter.

V.

Les Liaisons dangereuses (Dangerous Liasons) by Pierre Choderlos de Laclos

The love is a battlefield letter

In Pierre Choderlos de Laclos’ 1782 French epistolary novel, the principle characters Marquise de Merteuil and the Vicomte de Valmont are arch nemeses and ex-lovers who wield their inimitable letter writing skills as weapons of manipulation. The book is comprised solely of letters written back and forth between various characters.

Love in the Time of Cholera by Gabriel Garcia Marquez

The fifty-year correspondence

Love in the Time of Cholera follows the diverging lives of childhood sweethearts Florentino Ariza and Fermina Daza. Florentino first catches a glimpse of Fermina when he delivers a telegraph to her father, and from there it’s fated that the young postal worker and beautiful girl should start their own passionate correspondence. He goes home and toils over a letter, which soon transforms into a sixty-page “dictionary of compliments” declaring his admiration for her. After he hands her the tome, he waits for what feels like an eternity for an answer, but it turns out she’s mutually smitten, and just really needed the time to wade through the heavy metaphors. They begin an intense exchange of hundreds of love letters, which infuriates Fermina’s father. Life gets in the way and sends the adolescent lovebirds down different paths, but Florentino claims to have remained faithful to Fermina throughout his entire life, and he makes a final (and successful) proclamation of his love at her husband’s funeral five decades later.

Atonement by Ian McEwan

The this-is-why-you-should-say-it-in-person letter

The plot of Atonement is set into motion by a horribly misconstrued letter that lands Robbie in jail and leaves his secret girlfriend Cecilia hopelessly wishing for his exoneration. Since Robbie is imprisoned, the only way the couple can communicate is through a series of letters. Robbie is eventually released on the condition that he serve in the army during World War II. Perhaps the most devastating missive comes from Cecelia during this time when she writes:

…I know I sound bitter, but my darling, I don’t want to be. I’m honestly happy with my new life and my new friends. I feel I can breathe now. Most of all, I have you to live for. Realistically, there had to be a choice — you or them. How could it be both? I’ve never had a moment’s doubt. I love you. I believe in you completely. You are my dearest one, my reason for life. Cee

Anna Karenina by Leo Tolstoy

The you-complete-me letter

He may not be the titular character, but Levin’s development into a happier, less solipsistic guy is just as integral to the classic’s plot as Anna Karenina’s untimely demise. In Part IV, Chapter XIII, Levin takes another go at courting the object of his affection, Kitty. He’s always had trouble communicating his feelings, but Kitty’s innate understanding of him makes it easier. The two sit down at a card table and Kitty produces a stick of chalk, and they start a game of scribbling the first letter of every word in a sentence they wish to say.

Levin jots down: “W, y, a: i, c, n, b; d,y, t, o, n?”

Kitty responds: “T, I, c, n, a, o.”

Did ya get all that? Doesn’t matter because “everything had been said in that conversation. She had said that she loved him.”

Paula by Isabel Allende

The grieving letter

Isabel Allende never intended to write a memoir. She started what became Paula as an informational letter to her daughter to summarize the events she was missing as she lay asleep in a porphyria-induced coma. To the heartbreak of Isabel and her family, Paula never recovered, but she continued writing her letter which blends with some of the classic elements of magical realist fiction.

A Literate Passion by Anaïs Nin and Henry Miller, edited by Gunther Stuhlmann

The highbrow affair letters

Anaïs once wrote to Henry, “We are writers and make art of our struggle,” — that statement became truer than ever when Gunther Stuhlman published a compilation of their missives. The writers only spent a short amount of time with each other in the early ’30s, but carried on a love letter exchange for 21-years! Here’s one of my favorite passages from Miller to Nin:

I say this is a wild dream — but it is this dream I want to realize. Life and literature combined, love the dynamo, you with your chameleon’s soul giving me a thousand loves, being anchored always in no matter what storm, home wherever we are. In the mornings, continuing where we left off. Resurrection after resurrection. You asserting yourself, getting the rich varied life you desire; and the more you assert yourself the more you want me, need me. Your voice getting hoarser, deeper, your eyes blacker, your blood thicker, your body fuller. A voluptuous servility and tyrannical necessity. More cruel now than before — consciously, wilfully cruel. The insatiable delight of experience.

HVM

Selected Letters of James Joyce, edited by Richard Ellmann

The granddaddy of the filthy (fart!) sext

Save your eggplant emoji for the playground, kids, because James Joyce is about to blow you away with the kinky letter he wrote his wife Nora.

You know it’s real when you can’t get enough of your lover’s ~scent~

**WARNING: VERY NSFW**

My sweet little whorish Nora I did as you told me, you dirty little girl, and pulled myself off twice when I read your letter. I am delighted to see that you do like being fucked arseways. Yes, now I can remember that night when I fucked you for so long backwards. It was the dirtiest fucking I ever gave you, darling. My prick was stuck in you for hours, fucking in and out under your upturned rump. I felt your fat sweaty buttocks under my belly and saw your flushed face and mad eyes. At every fuck I gave you your shameless tongue came bursting out through your lips and if a gave you a bigger stronger fuck than usual, fat dirty farts came spluttering out of your backside. You had an arse full of farts that night, darling, and I fucked them out of you, big fat fellows, long windy ones, quick little merry cracks and a lot of tiny little naughty farties ending in a long gush from your hole. It is wonderful to fuck a farting woman when every fuck drives one out of her. I think I would know Nora’s fart anywhere. I think I could pick hers out in a roomful of farting women. It is a rather girlish noise not like the wet windy fart which I imagine fat wives have. It is sudden and dry and dirty like what a bold girl would let off in fun in a school dormitory at night. I hope Nora will let off no end of her farts in my face so that I may know their smell also.

Writers and Creators Discuss What It Means to Make Art in the Trump Era

Creatives are critical players during political crises. At our best, we articulate danger now and danger ahead. We visualize possibility. We act.

I owe writers for what they did for me in November 2016. I didn’t feel a minute of relief from my post-election haze until I listened to the readers at “What Just Happened: Writers Respond to the 2016 Presidential Election.” Participants shared powerful stories. But there was also something about getting together that night. Community and the written word had us feeling energy that we didn’t have when we walked in the door.

Poet Willie Perdomo declared 2017 the year of “fear, angst, and Hell No”. That tidily summed up my year. But what about for others? One year later, I asked creatives to share how living in America in 2017 has affected their work and well-being.

Distracted, Angry, Vigilant

Respondents were asked how they were doing. Many shared some level of distress.

Rosebud Ben-Obi (poet): “I’m feeling a lot of things. Distracted. Angry. Vigilant. Every day we wake up to some new nonsense that our so-called president has created.”

Willie Perdomo: This is the year of Fear, Angst, and Hell No. The idea that there’s more hoax, and tragedy, and gunplay, and war, and taxes, and hurricanes to come, is enough to exhaust the soul. And, yet, it’s the soul that translates the most when these elements are at their apex.

Leslie Cain (independent film producer): For most of the past year I was constantly waffling between depressed incredulity and determination that America lives up to its promises, even if they weren’t sincere in the first place. I’m trying to focus on how to protect the least protected amongst us.

Peter Markus (fiction writer): I’m doing my best not to throw up my hands. I’m finding ways — small ways — to focus on joy, delight, pleasure. To have to be in this world and navigate the daily situations and relations and wonder, ‘Did the sweet fellow at the vet who is a lover of dogs and Bob Seger vote for that monster? Did my neighbor who is a good neighbor and who we chat across our yard about Michigan football and the Red Wings: I know how he voted. How hasn’t his opinion changed?

Serena Agusto-Cox (poet):I’m more anxious about the world and the role of the United States. I’m more concerned about my daughter’s future in a world where abuse and neglect are OK in the political world, as is regulating women’s rights and the rights of others.

(Clockwise from top left: Koritha Mitchell, Willie Perdomo, Olivia Kate Cerrone, Marc McKee)

Robert Fanning (poet): Artists and writers are feeling beings — I say that 100% unapologetically. It’s harder to escape now, to make those necessary imaginative flights — with a constant deluge of Bad News in every sphere: ecological, social, political. For me, it is harder to maintain concentration, to focus on the project at hand; my heart feels pummeled and pulled — by such massive and social political issues, by what feels like an assault on the very truth.

Barry Kaplan (playwright): I sometimes feel my retreat to the country makes me safe from the horrors of what is going on in America.This is not to say that people here are oblivious to the world; quite the contrary. But it is easier for me to be alone here and without TV or the newspaper I can feel like everything is OK.

Marc McKee (poet): A year ago I was seized with dread. Now I’m confronted with horror-creep, and it’s like endlessly, endlessly weeding a garden. Some of my friends have machetes and like heroes go to work. Every. Day. Some of my friends are crying from exhaustion and fear and real hurt. And still the weeds come on in fits and swells.

How do you pursue a writing career in Trump’s America without hating yourself?

The Lit Matchbox

I asked the respondents how Trump’s politics and policies affected their communities.

McKee: Trump is basically just a demented accelerant. He’s a lit matchbox dropped into 40 years of Republican gasoline, and though he’s scarcely worth the word, so incurious and unreflective and unreconstructed he is, his “politics” have further galvanized ignorance and fear.

I’m lucky to live in a college town, albeit a somewhat besieged one, ideologically speaking. We rallied for women in my town. We rallied for the Muslim community in my town, leaving a mountain of flowers at the downtown mosque. We have had marches for climate, we have stood outside representatives’ offices insisting that common sense prevail with regard to health care and gun regulation. And so far, none of the menacing policies brandished by an alternately empowered and chastened conservative “lawmaker” majority in Washington have proved out.

Rosebud Ben-Oni (poet): My mother’s family lives on the U.S.-Mexican border, so I hear often about the daily political and social insults on their lives, which seem to be escalating as Trump wants to seize land to build his ridiculous wall. As a woman, as a Latinx, as a bisexual, I can’t not be affected by the current administration. I’m hyper-aware in that sense of looking over my shoulder again and again when I walk down the street. And I don’t mean only a literal street. But that, too.

Cain: Since the morning after, when my nine-year-old daughter woke up to find that Trump had won, I thought some of her faith in grown-ups knowing and doing the right thing faded. I saw her confusion and then the cloud. We were not what she thought we were and neither was the world.

What This Means for the Work

The political, social, and cultural dynamics of the last year affected respondents differently — but most reported personal impact.

Gloria Nixon-John (poet): I have had trouble focusing on my work as it seems less important than expressing my fears about what the current administration is doing, or might do.

Sarah Louise Lilley (actor): As an artist, if you’re work is not overtly political, it can be a challenge to feel that your voice matters. However, I believe more than ever that art is vital. Just making art now is a political act in itself.

I believe more than ever that art is vital. Just making art now is a political act in itself.

Cain: Art ignites, names demons and exorcises them, too. Art can quiet noise and the glare of purposefully placed distractions. This is why they go after art first, be it the NEA or PBS, because we are affirmed when we create and affirmed people know their power. So, I support and engage more art out of necessity now. It feels less about ego and more like a sin to not produce work.

Serena Agusto-Cox (poet): I’ve had a tough time writing poems on the two manuscript themes I have. Either I don’t write at all or I write angry poems about some news item or Trump’s policies in general. I’m generally not an angry person, but these poems need to get out so I can feel a sense of equilibrium these days.

Perdomo: I wonder about the cycles of destruction, the contempt for the Other, and how a percentage of the population (rabid White nationalists, probably minimal in number, but significant in power and holdings), believe that the country belongs to them and only them. Because then they seek ownership of our bodies, our communities, water. I’m interested in the gangster/politician analogy and how they are not far removed from each other. And I’m still disgusted that the best the leader of the free world could come up with were Bounty towel foul shots for a Puerto Rico that had just been decimated by a hurricane. When you see that kind of heavy, intentional symbolism, you have no recourse but to run to your notebook with a sense of urgency, and hopefully, a touch of what the fuck. I roll with Langston Hughes on guidance and advice: Hold. Fast.

An Open Letter To The Writers Speaking Out Against Trump

James Nolan (poet, novelist): My memoir of a politically radical, most unconventional life — Flight Risk: Memoirs of a New Orleans Bad Boy (University Press of Mississippi) — came out during the first months of the Trump presidency, and to promote it at book events during these polarized times has been a tricky experience. Until the election, I actually thought my life and its values had become fairly mainstream — but guess what? — it’s 1968 again, which ironically is where the memoir opens, at a chapter called “Sixty-Eight” set in the mental hospital to which my parents committed me for being an anti-war and civil rights activist.

In book talks I’ve avoided discussing with certain audiences several of the chapters, especially those concerning my girlfriends’ abortions, my bisexuality, being thrown into a Guatemalan jail because of my association with Latin American revolutions, the year I spent teaching in post-Maoist China, and my expatriate life during the heady la movida years in newly democratic Spain. I didn’t realize how truly divided the country is until I had to go on the road with this book. There was standing room only at my event in at City Lights in San Francisco, but I was uninvited to present the book in Jackson, Mississippi, the very place the book was published.

Koritha Mitchell (nonfiction writer): Trump’s ascension has not changed anything I’ve been saying or doing because I’m convinced that the unwillingness to call out white supremacy, white privilege, and white mediocrity helped get him elected. However, I have found myself even more committed to supporting writers of color. They are bearing witness in ways that should not be lost to us now or lost to posterity. And that’s true whether their work is engaging Trump or not.

I have found myself even more committed to supporting writers of color. They are bearing witness in ways that should not be lost to us now or lost to posterity.

Kaplan: As a white male playwright, I find that the temper of the times is such that more and more theatres in New York and regionally are soliciting plays from women, transgender people, and people of color. As a citizen of America I find this a thrilling development; as a playwright, it feels, for the first time, that I am being shut out.

In the Classroom

Nixon-John: While I am having trouble focusing on my writing, I have been more available to help students, many of whom are adults working on worthwhile manuscripts.

Olivia Kate Cerrone (fiction writer): I take great inspiration from the poet Cheryl Buchanan, who founded Writers Without Margins which partners with various shelters and nonprofit organizations in [Boston], such as the Pine Street Inn and St. Francis House, providing a supportive, creative space to nurture and uplift marginalized voices. Buchanan’s work is a constant reminder of the power that individuals still have at the grassroots level, making a real difference in their communities.

(Clockwise from top left: Chinelo Okparanta, Max S. Gordon, Leslie Cain, Barry Kaplan)

Novelist Chinelo Okparanta shared an unpublished essay she wrote after a white male student brought a story to her predominantly white writing workshop at a Pennsylvania university. The story culminates with the targeted killing of all of the Black population.

Okparanta : There’s a way in which the pulse quickens and the eyes tear up and the face burns with heat when one stumbles upon a story like this. If one is a particular kind of person, anyway. Say, a dark-skinned person reading about the destruction of herself by her very own student — the student she comes into contact with at least twice a week. The student she had no idea was capable of harboring such destructive thoughts, even in a fictional universe.

What They Didn’t See Coming

Serena Agusto-Cox (poet): None of it. Except for maybe the cowardice of the Republican party, refusing to stand up for the country and its citizens rather than corporations and their own party victories. Why they do not act to get rid of someone so harmful and unconscionable is beyond me.

Nixon-John: Knowing about [friends and family] support for Trump has changed my feelings about each of them. I have had to avoid some ‘friends’. Some are relatives. I know hate is poison, but it surfaces whenever I see the President’s face. And I don’t think I am the one who needs therapy.

Markus: Oh I saw it coming. I saw all of it coming. I saw the election result coming. I saw the hatred for the other coming. I saw the power and the permission to voice that hatred coming.

Oh I saw it coming. I saw all of it coming. I saw the election result coming. I saw the hatred for the other coming.

Nolan::A Holocaust survivor once explained that the oppression of German Jews began when Hitler gave people the moral permission to act out their long-simmering resentments. I didn’t expect the resentment in the U.S. to explode quite so quickly after Trump’s election. This has happened on both the extreme right and left, and their street and campus clashes threaten to boil over into a civil war.

McKee: Trump makes me feel as though he is the last object lesson we offer ourselves before we implode into violent irrelevance. I don’t see that coming, but that’s what scares me.

What Gives Them Hope

Markus: I see the faces of my children.I hear their voices. I see my wife, I hold her hand, and I know that I am loved.

Cerrone: Justice Ruth Bader Ginsburg recently offered this quote: “The true symbol of the United States is not the bald eagle; it is the pendulum, and when the pendulum swings too far in one direction, it will go back.” The Democratic victories in Virginia give proof to this sentiment, especially considering Danica Roem’s historic win. The tide is turning against hate and discrimination.

(Clockwise from top left: James Nolan, Sarah Louise Lilley, Gloria Nixon-John, Rosebud Ben-Oni)

Ben-Oni: Ruben Quesada is a powerhouse of Latinx and LGBTQ activism; check out his recent poem “Angels of Paradise.” Lynn Melnick has done incredible work over at VIDA: Women in Literary Arts, and her recent book “Landscape with Sex and Violence” is a must-read, especially right now. Read all the Gabby Bellot you can find; here’s a good start. Jose Hernandez Diaz’s “Jorge Ramos Is from Guanajuato”. Charif Shanahan’s “Plantation.” Tiana Clark’s “Nashville”. Nate Marshall’s “the valley of its making.” Mai Der Vang’s “After All Have Gone.” Brian Kornell’s beautiful Fat & Queer series. This is a terribly abbreviated list. Go to CantoMundo, Cave Canem and Kundiman to check out some incredible poets.

Mitchell: James Baldwin and his writing and speaking always give me life. I’m constantly struck by his vision and his willingness to call things exactly what they are. Throughout the Obama presidency, so many simple truths seemed unspeakable. Indeed, Obama modeled the tendency to leave white supremacy, white privilege, and white mediocrity unremarked, despite how fundamentally they continue to determine outcomes for every American. Baldwin’s work models precisely the opposite tendency because he believed that a commitment to democracy required no less.

Lilley: Donald Trump has woken everyone up. We can no longer pretend, we can no longer keep quiet.

Donald Trump has woken everyone up. We can no longer pretend, we can no longer keep quiet.

How to Maintain Creative Energy During This Time

Markus: I do my best to be who I am and to love who I love and to try to act with patience and kindness in every interaction of my every day.

Lilley: I think self-care is more important than ever. Whatever that looks like for you — time in nature, turning off your phone, meditation, exercise, taking a bath or journaling.

Kaplan: I have always liked being alone and working alone and that has not changed as I’ve gotten older and the world has become a more worrisome place. I still go to my desk every day and write and try to learn about myself as I do it. My dog is a wonderful writing companion. I can look away from my desk, across the room at the armchair where she is sound asleep and making little noises in her throat, and be reminded that this is what life is.

I Love This Land; I Grieve

Mitchell: I maintain consistent energy and avoid mood swings because I don’t eat sugar or flour. It’s so much easier to find oneself in intense anger and sadness when one’s hormones are out of balance, which sugar and flour almost guarantee in most people.

Fanning: I’m working hard to try and stay away from the edge of that black hole, which is essentially the self sliding into the self, the spiritual flesh flipping backwards upon itself. It really hurts when that happens, so I’m trying — baby steps — to eat better, sleep better, exercise, practice self-maintenance and care. I love going for walks with my wife most mornings beside the river and through the woods. I am, wherever I can, replacing social media and the phone with books (a constant battle). I am working hard on being present for my wife and my children — especially in the moment, looking at them when they’re talking to me, holding them close.

Max S. Gordon (essayist): [I’ve] found myself thinking: If they are going to blow our asses up anyway, and we all end up going to war, maybe I should get high one more time, you know, just go out with a bang? I know better, of course, and it won’t happen, but these are dangerous times for an addict. These are dangerous times for all of us.

What Comes Next

Gordon: Something is definitely coming, and to deal with it we need to be whole. We can’t be fragmented with each other, or within ourselves. The thing that’s coming needs you to hate yourself so you will feel nationalistic pride when they try and build a wall. It needs you afraid at night, hiding behind the shades, so you can be manipulated into a travel ban. The thing that’s coming is counting on you to be a mess, in debt, traumatized, dissociated, drunk, high, angry, racist, lonely, heartbroken, in despair, cynical. It needs you to think Black/White, Palestinian/Jew, Man/Woman, Gay/Straight, Them/Us, Me/Other. The thing that’s coming needs you numb and asleep, so it can organize at night. Then, suddenly, you get up one morning and see the men in the streets with machine guns. Because they know by then it will be too late.

The thing that’s coming needs you numb and asleep, so it can organize at night. Then, suddenly, you get up one morning and see the men in the streets with machine guns.

Fanning: The job of the poet is now as crucial, more crucial than ever — to continue to speak truth, to continue to speak imagination, to speak hope, and to speak love.

Agusto-Cox: Focus on your self-care and family, then do good in your community. Keep hope alive. Even if you don’t have the money to give, give a little of your time or the clothes you don’t wear anymore. Help kids in your community do homework. Anything.

Markus: People need to pay attention. We need to listen and need to take words at their face value. Words say what they say and they often say more than what they say. Words as deed as the saying goes. We need to act, even in small ways: the daily acts of kindness, toward each other, toward total strangers. A simple hello, good morning, how are you? And to listen, I mean really listen when people speak. What people want more than anything else is to hear from you, “I hear you.” Which of course is another way to say, “I feel you. I am with you. We are all in this together.”

A New Memoir Offers a Personal Look at How America Fails the Mentally Ill

Zack McDermott’s debut memoir, Gorilla and the Bird, chronicles a psychotic break that disrupted his 20s and brought him face-to-face with the realities of mental health, incarceration, and opportunity in the United States. At 26, McDermott represented clients for New York’s Legal Aid Society by day, but spent nights and weekends on his budding career in comedy, doing stand-up and writing a TV pilot. Not realizing exhaustion and insomnia were triggers, he left his Lower East Side apartment one morning in the grip of a psychotic break. Convinced he was part of an elaborate Truman Show-like audition for his breakout television role, McDermott thought everyone from the soccer team he briefly joined in Tompkins Square Park to the police at the Bedford Avenue L train stop who escorted him to the hospital were in on it. He spent years after his first manic episode grappling with his bipolar diagnosis and taking antipsychotics while representing often mentally ill clients in court.

McDermott, nicknamed “the Gorilla,” for his broad chest, beard, and copious body hair, relied on his mother, “the Bird.” She’s a stalwart woman who advocates for her son when he can’t speak for himself. She raised McDermott and his two siblings as a single mother on a grocery store clerk salary in Wichita, Kansas. McDermott’s memoir shows him grappling with the stigma of mental illness and learning to manage his symptoms, but is also a commentary on “the dire consequences” for the mentally ill who don’t have an advocate like “the Bird” or middle-class privilege to lean on. I spoke with McDermott about the assumptions faced when it comes to mental illness, privilege, and how he reflected and wrote about this time so vividly in his memoir.

Randle Browning: Gorilla and the Bird opens with the psychotic break that led you through New York City, convinced you were being filmed for your breakout TV role — and eventually landed you in Bellevue Hospital. Did you worry about the perception you were sensationalizing mental illness?

Zack McDermott: I told the absolute truth as best I could. I didn’t exaggerate. I don’t think I was giving people something to gawk at. I was telling a story. There is a danger to glorifying mental illness. There’s this school of thought that people who have mental illness are intelligent or creative. There are brilliant people who have mental illness. There are also people who are brilliant but not mentally ill. Jerry Seinfeld’s about as stable as a bowl of Quaker Oats. He’s a creative genius. There are just as many people that are totally sick — a lot of my clients. They’re not seeing flashes of genius.

RB: In your book you wrote, “Bipolar, psychotic, insane — it’s still one-hundred percent okay to use these words as pejoratives; they are our go-to labels to describe dangerous people.” Do we need a better understanding of what it means to be mentally ill or have bipolar disorder in particular?

ZM: Part of it is just knowing what bipolar disorder is. A lot of times if someone has outbursts or behaves in a dysfunctional or destructive way or has a bad temper, people say, “He’s bipolar.” I don’t get offended easily, but there’s something counterproductive here. You should be as familiar with the symptoms of bipolar disorder as you are with the cold or flu. It costs a lot to not know what those symptoms are, especially when people go through it. I’m not saying if I’d known all about it I would’ve said, “You’re right, take me the doctor.” Maybe. In the throes of mania or psychosis, we are still capable of saying, “Alright, I’m exhibiting symptoms.” I knew something was off with me, I just had no clue what this thing even was.

You should be as familiar with the symptoms of bipolar disorder as you are with the cold or flu.

RB: How much would you say Gorilla and the Bird is about the “dire consequences” for people who don’t come from privilege?

ZM: It’s shocking how many people walk through life patting themselves on the back. We celebrate certain things as if they have a high degree of merit, like being smart. You did literally nothing to be smart. This is kind of extreme, but I don’t even find being a hard worker virtuous. You’re just throwing dice and coming up seven, seven, seven. People don’t look at their good fortune with enough space and removal to consider: “I’m just really lucky to be here.” The flipside is if you’re not viewing how lucky you are, you don’t have enough empathy when others are unlucky.

RB: Based on your experience as a public defender, have you found there to be a correlation between mental illness and incarceration?

ZM: Sure. We’ve more or less criminalized mental illness. We take these people who scare us — we have this default system where you did a bad thing and you go to this building. The question of what we can do for you is never asked. I’m all for a hospitality-driven criminal justice system, where you come as more of a patient than a combatant. Right now it’s so adversarial. The question needs to be asked — not “What did you do to us?” but, “What did we do to you?” What did we do to create whatever host of problems are guiding your actions and behavior? I promise if I threw you in prison, you’d come out with some mental illness. You’d come out looking rough, feeling worse.

We’ve more or less criminalized mental illness.

RB: I believe you, especially after reading about your time in mental institutions. In Gorilla and the Bird, you relive several manic episodes. Was it emotionally draining to write, or hard to remember what it felt like?

ZM: No, it wasn’t hard to relive anything. Plus, it’s work. It’s hard to live it, it’s not hard to think about it. Then, remembering it — I have a good memory. I wrote 300 pages in 2009 that I would occasionally consult. Then there are parts where I was so out of it there’s no way I could have a memory of it. There’s that stretch where it’s just my mom’s journals. I was out for two weeks. I thought it worked as a little device.

RB: Your mom supports you through all of this. What happens to people who don’t have a “Bird”? What would’ve happened to you if you didn’t have her?

ZM: It’s hard to say because I have more going for me. I have a terminal degree. Most of my clients didn’t have college degrees. Most of them didn’t have friends whose parents are psychologists. They’re trying to live. They don’t have health insurance. It’s conceivable to me that I could’ve been arrested several times, but I think I always had a better chance of encountering medical intervention or help and being able to implement that. I worked as a public defender. I know what these medications are. I know what the symptoms are. I think a lot of people, like my clients, were in the dark. It’s hard to separate middle class privilege, for lack of a less buzzy word, from having a great mom. It all made all this possible.

RB: Maybe it’s not one or the other. Your mom and the benefits of middle class privilege mean your story ends in a different way than most of your clients.

ZM: Most people don’t get to write books about it when they’re done.

Reading ‘Girl, Interrupted’ in the Psych Ward

RB: So much of writing is the work of making all the parts fit together after you’ve written the first several drafts.

ZM: It’s like building a car. If the book is going to work well, you can’t just say, “The gasket is close enough.” It has to be flush. And you know what else? You get a lot better from the beginning to the end. If you write for 10 to 15 hours every day for two years, you get better. What you used to think was really good, Chapter Seven, now needs to be better, because Chapter 17 is better.

RB: Is there anything that didn’t make it into the book that you wish did?

ZM: No, I know I gave it my best shot, and my writing partners and friends did too. It had to go through four brilliant editors, and we worked really hard on it. Once we thought we had it good enough, we tightened the screw, and then we tightened it again. We made the right calls on what went in and what went out. I trust everybody that helped me edit it. I had a buddy who said, “We’re done. We have polished this thing, and we can do this no longer.”

We have to revisit the way we look at mental illness. The treatment is to lock you up with other crazy people. It’s literally the worst thing you could do.

RB: Is there something you wish people knew about mental illness?

ZM: My mom has a quote: “When people are at their worst, when your instinct is to walk away, what you really need to do is move toward them.” You’re not witnessing someone being bad. You’re seeing symptoms of a disease. It’s like being mad at someone for throwing up when they have the flu. We have to revisit the way we look at mental illness. The treatment is to lock you up with other crazy people. It’s literally the worst thing you could do. Incarceration is not a treatment. Putting someone in uncomfortable conditions when all they need is sleep, feeding people horrible food. That feels crazy.