9 Books About Being Southern and Queer as Hell

In the months leading up to Alabama’s special election — a race between KKK-defeating prosecutor Doug Jones and a horse-riding pedophile — all eyes were watching the South. Then again, eyes have been unusually tuned on the south since the 2016 election. And yet, phrases like “Trump Country” also reduce an entire region to a single, homogenous, ignorant concept.

In the literary world, many people seem to think that the South’s greatest export is our gothic canon. Authors like Flannery O’Connor and William Faulkner elevated the region’s literature in the 20th century, but as a writer, when I think about what it means to be Southern, I think of the many LGBT writers who use themes of solitude, violence, and social isolation as a way to cope with their own identities and traumas. Fighting and survival are trauma’s close cousins, and they reunite frequently in the majority of the texts I’ve chosen for this list. But queer Southern literature isn’t just about the struggles LGBT people have to deal with while living in the South. While many of these books explore the hardships LGBT southerners face, I’ve made it a point to include texts that highlight the joys of being Southern and gay as hell, y’all.

The Heart Is A Lonely Hunter by Carson McCullers

There have been many attempts made to place Carson McCullers within the realm of LGBT Southern fiction, and with good reason: McCullers interweaves themes of loneliness and sexual confusion in nearly all of her work, and she cherished a lifelong close friendship with Swiss writer Anne-Marie Clarac-Schwarzenbach. The Heart is a Lonely Hunter, her most well-known work, follows a deaf man named John Singer as he navigates his small Georgia town. The story focuses on Singer’s acquaintances, including Mick Kelly, a “tomboy” who’s clearly a coded lesbian, if you ask me.

The Raven Cycle by Maggie Stiefvater

This YA fantasy series is set in Virginia, and at times feels distinctly Southern. The best thing about these books is that they feel familiarly Southern. They’re not billed as a Southern series, like Charlaine Harris’ Sookie Stackhouse novels, but the Southern setting and culture pervades throughout. Class and gender tension mingle with magical realism; family roots and forged friendships push back against a persistent underlying feeling of abject isolation — a Southern specialty. What earned this young adult series a place on this list, however, is its centering of a young LGBT couple, Ronan and Adam. Steifvater weaves their romance — between a boy as hard as nails (or at least wishes he could be) and boy who’s fought his whole life to fit in with his rich friends — into the larger plot.

Two or Three Things I Know For Sure by Dorothy Allison

Bastard Out of Carolina was an obvious pick for the list, but Allison’s memoir, released in 1996, doesn’t get enough love. She dives into the history of her own family line headfirst, and dissects what she finds. It’s dark and enduring, full of lyrical prose. Dorothy Allison is known for being provocative and confrontational, and her memoir is no exception.

The Color Purple by Alice Walker

Alice Walker has said that she doesn’t identify as a lesbian or bisexual, but she’s not straight. Her most famous work, The Color Purple, centers a relationship between two women, Celie and Shug, within a winding tale of abuse, violence, and resilience. Shug Avery, a blues singer, spends most of this epistolary novel nurturing and loving Celie, eventually helping her escape her abusive husband.

Fried Green Tomatoes at the Whistle Stop Café by Fannie Flagg

This novel by Fannie Flagg was adapted for film in 1991. The film is beautiful, but the novel, which follows the lives of Southern women in the fictional town of Whistle Stop, Alabama, is much more vibrant and diverse. While the lesbian themes in the film are only hinted at, Flagg’s novel paints Idgie and Ruth’s relationship as overtly romantic. If you love Southern food, crying, and lesbians, read this book.

Cooking in Heels: A Memoir Cookbook by Ceyenne Doroshow

I really wanted to include food writing on this list, because if there’s one thing Southerners love, it’s food. I love the idea of a “memoir cookbook,” and it’s everything I wanted and more. Ceyenne Doroshow is a transgender writer and activist raised in Brooklyn, but this cookbook is decidedly Southern. She shares stories from her life alongside classic Southern recipes like “Grandbaby’s Spare Ribs” and deviled eggs.

Other Voices, Other Rooms by Truman Capote

I couldn’t write a list of great Southern literature without including at least one Southern gothic choice, and I couldn’t write a list of gay Southern literature without including Truman Capote, so here I’ve managed both. Other Voices, Other Rooms was Capote’s first novel, written in the Southern gothic tradition. It’s deeply autobiographical, recounting the time Capote spent growing up in Alabama with his childhood friend and fellow Southern writer Harper Lee.

Crooked Letter i: Coming Out in the South, edited by Connie Griffin

This 2015 anthology, edited by Connie Griffin, features LGBT writers across the gender spectrum, all navigating the intersection between two sometimes disparate identities. Dorothy Allison provides the forward for this collection, and what follows are sixteen stories of survival, audacity and hope. In “Ben’s Eyes”, Ernest Clay tells the posthumous story of his longtime partner, Louie, growing up as a black gay man in the South and discovering his identity. Elizabeth Craven’s “Almost Heaven” explores the intersections of identity, family and Christianity.

Prelude to Bruise by Saeed Jones

I love to think of Saeed Jones as a Southern poet. I’m not sure if he thinks of himself that way, but it gives me a great amount of joy when I read his work. His debut collection, published in 2014, is brutal and unsparing, but at times tender in a way that feels harsh. The poems explore ideas of isolation, connectivity and beauty, and question what it’s like to leave a mark on another person’s body, another person’s history. It’s a stunning collection, worthy of every praise.

The 10 Sexiest Jesus Figures in Literature, Ranked

One of the first things you learn in a high school English class is how to recognize a Jesus figure. Some possible tells: They’re too pure for this world, they sacrifice themselves for the good of all, they’re presented as the chosen one everybody has been waiting for, their initials are J.C. But it’s often not until after high school that you start to think “wait a second, aren’t a lot of these guys… kinda foxy?” Or maybe you never put two and two together before, and this is the first time you’ve thought about which Jesus figures in literature are snacks. In which case: merry Christmas.

Below, counting down to number one, are our picks for the dishiest Messiahs on your bookshelf.

Daniel Radcliffe as Harry Potter in one of the later movies so it’s not creepy for us to put him on this list

10. Harry Potter, the Harry Potter series by J.K. Rowling

Harry starts out the series as a child, which is of course not sexy at all and means we’re uncomfortable ranking him any higher. But by the last book of the series he’s a flawed but strong-willed and noble young man. (He is also, not for nothing, played in the film version by Daniel Radcliffe, which will get you pretty far with some people.)

A realistically bloody crucifixion is the goal in “The Five Wounds” but for the sensitive we’ve provided an artist’s rendering of a hand nailed to a cross

9. Amadea Padilla, “The Five Wounds” from Night at the Fiestas by Kirstin Valdez Quade

The main character of this indelible short story is a Christ figure by choice, not just by authorial intent: He’s portraying Jesus in a brutally authentic passion play, in which he will really be whipped and nailed to a cross. A high pain tolerance and near-fanatical devotion are arguably sexy qualities, and he’s also trying hard to be a good dad to his pregnant teen daughter, which is an attractive attribute. But religious feeling makes Amadea prudish; during the course of the story he judges both his daughter and her mother for being sexually active.

Michael Clarke Duncan as John Coffey in the movie adaptation of The Green Mile

8. John Coffey, The Green Mile

Physically, John Coffey is pretty hunky if you like that sort of thing (“that sort of thing” being dudes who can pick you up with one hand). But Stephen King’s oversized miracle-worker convict maintains a sweet, self-sacrificing innocence that justifies his telltale initials, but doesn’t do a lot to fire up the loins.

Painting from the cover of an old edition of Light in August

7. Joe Christmas, Light in August by William Faulkner

Faulkner’s subtly-named Jesus figure is a societal outcast and an illegal bootlegger, who believes himself to have African American ancestry and thus hovers uncomfortably between worlds in the highly racist Yoknapatawpha County. Being a surly, outside-the-law bad boy is kinda sexy, and so is troubling arbitrary racial distinctions. But Christmas is also bitter, resentful, and violent—to the point, it’s implied, of murder. Hannibal fandom aside, homicide is a bit of a cold shower.

Alan Arkin as John Singer in the movie adaptation of The Heart is a Lonely Hunter

6. John Singer, The Heart is a Lonely Hunter by Carson McCullers

John Singer’s entire role in Carson McCullers’ novel is to be a blank slate onto which other characters can project their desires and expectations. Because he’s deaf and mute, he doesn’t contradict them, even as they get increasingly messianic. If you’re the codependent type, this kind of malleability might be extremely hot. If you prefer a partner with more grit, well… it’s a list of Jesus figures, so don’t get your hopes up too high.

Estonian actor Risto Kübar, by far the cutest person to play Myshkin, in an adaptation of The Idiot

5. Prince Myshkin, The Idiot by Fyodor Dostoevsky

The eponymous idiot isn’t dumb at all — he’s just fragile and sensitive. Though the epileptic Myshkin isn’t the picture of robust masculine health, he is generous, wise, trusting to a fault, and really gets women. He’s also very rich, if you’re into that. Unfortunately he also has basically no libido whatsoever, but if you’re looking for a guy who’s going to do the emotional labor, Dostoevsky’s “holy fool” is the man of your dreams.

John Carradine playing Jim Casy and a shoe playing Jim Casy’s hand in the movie adaptation of The Grapes of Wrath

4. Jim Casy, The Grapes of Wrath by John Steinbeck

Preachers are not known for their sex appeal, but ex-preachers — now we’re talking. Jim Casy actually got up to a lot of shenanigans when he was a man of the cloth, but once he gives up on the idea of sin and starts espousing a philosophy of humanism and social justice, he gets even hotter. When he lays down his life for the rights of migrant workers, we can’t help but think he might be the holy sex symbol for our time.

Aslan in the 2005 adaptation of The Lion, the Witch, and the Wardrobe

3. Aslan, The Chronicles of Narnia by C.S. Lewis

The highly religious C.S. Lewis surely did not intend for his transparent Christ analogue, who is also a lion, to be sexy. Unfortunately, Aslan is definitely extremely sexy for some reason. Maybe it’s the air of authority? We don’t forgive Pious Lion Daddy for barring Susan from Narnia just for getting into lipstick, but we gotta call it like we see it: hot cat. Sorry.

A young, hot, confused-looking Kyle MacLachlan in David Lynch’s Dune

2. Paul Atreides, Dune by Frank Herbert

The prophesied Chosen One of the desert world of Arrakis, Paul Atreides definitely has swagger. Honestly, he has way too much swagger. He is a cocky nightmare. But he’s a cocky nightmare who can ride sandworms and see the future! Buuuuuut he’s also kind of the product of a weird eugenics program so… okay, look. Fine. We’re being unduly influenced by the fact that in the otherwise unwatchable David Lynch film of Dune, Paul is played by a young Kyle MacLachlan, one of the few truly great-looking men. We’ll put up with a lot of attitude for that.

Charles Nolte being downright distracting in the Broadway production of Billy Budd (Photo: Charles Nolte Collection for the Performing and Cinematic Arts)

1. Billy Budd, Billy Budd by Herman Melville

Listen, we’re not just giving Billy top billing because of this picture of Charles Nolte in the… excuse me, scroll down please! The text is down here! Ahem, this picture of Charles Nolte in the 1951 Broadway production. Melville’s sailor is also—could you please scroll down—charming, handsome, popular, and endlessly forgiving, even when falsely accused and persecuted. Plus, his stutter means he won’t interrupt you. Bliss.

10 Moments That Shook the Literary World in 2017

Though 2017 saw plenty of loss, threat, and infighting, it was also the year we celebrated diversity, fought against injustice, and toppled predatory men from positions of power. On the one hand, art itself is under threat from a dystopian government, but on other, a white supremacist lost his six-figure book deal and Jesmyn Ward became the first woman and the first black author to win two National Book Awards for fiction! Yeah, it’s been a roller coaster. These were the deaths, disputes, awards, lawsuits, firings, Twitter pile-ons, and fashion faux pas that defined a tumultuous year.

10. Margaret Atwood’s Purse Wins An Emmy

Writers everywhere learnt that bringing your purse onstage is a faux pas after Margaret Atwood’s “The Handbag’s Tale” moment at the Emmy Awards went viral. News outlets and social media quickly dubbed the feminist icon the “ultimate nana,” because defining women by familial roles and their relationships to other people isn’t reductive in any way. Here at Electric Literature, we celebrate writers because of their powerful writing and not their wardrobe choices, so we wrote about about “Why The Handmaid’s Tale Is So Painful to Watch” and how “The Real Villain in Netflix’s Alias Grace Is the Male Gaze.”

9. ‘1984’ Tops the Bestseller List After Presidential Inauguration

George Orwell’s dystopian novel depicting a grim future in a totalitarian state has surged in sales since the presidential election, climbing to to the top of the Amazon bestseller list. Penguin, 1984’s publisher, said Orwell’s “vision of an omni-present and ultra-repressive state is rooted in the ominous world events,” which certainly rings true in our current political climate. The administration’s growing collection of buzzwords, such as Trump counselor Kellyanne Conway’s claim that Sean Spicer’s falsehoods were “alternative facts,” struck many as similar to the novel’s “newspeak” and “doublethink,” which are employed by the state to limit freedom of thought. References to the dystopia, and its uncanny parallels with our current political quagmire, became so numerous that they propelled the 68-year-old book to the top of the charts.

Ta-Nehisi Coates via Wikipedia, Cornel West via Wikipedia

8. Ta-Nehisi Coates Deletes Twitter After Feud With Cornel West

Ta-Nehisi Coates, the author of Between the World and Me, deleted his Twitter account following a scathing op-ed by Harvard professor Cornel West attacking Coates as “neoliberal face of the black freedom struggle” and accusing him of “fetishiz[ing] white supremacy.” West, a radical activist, author, and outspoken critic of the Obama administration, posted the article to his Twitter, writing that Coates’ “analysis/vision of our world is too narrow & dangerously misleading.” The Guardian article also argued that Coates’s “allegiance” to President Obama has blinded him to the injustices committed by the administration and “produced an impoverished understanding of black history.” The drama spilled over on social media with Jelani Cobb, staff writer for The New Yorker, and Richard Spencer, white supremacist, both weighing in. Coates responded on Twitter by announcing “peace, y’all. i’m out. i didn’t get in it for this” before deactivating his account of 1.25 million followers.

Whitehead, Als, and Nottage, Pulitzer Prize winners

7. Awards Are Less White Than Ever Before

Literary awards in 2017 lost some of the pale caucasian sheen they’ve had in years past. Four of five Pulitzer Prize winners in Letters & Drama were writers of color—Colson Whitehead’s The Underground Railroad for fiction, Hilton Als of The New Yorker for criticism, Lynn Nottage’s Sweat for drama, and Tyehimba Jess’ Olio for poetry. (Heather Ann Thompson also won the nonfiction award for Blood in the Water: The Attica Prison Uprising of 1971 and Its Legacy.) Jesmyn Ward became the first woman and the first black author to win a second National Book Award, this time for Sing, Unburied, Sing, beating out the three other women of color (and one white guy) on the shortlist. (Other winners were Robin Benway’s Far from the Tree for young people’s literature, Masha Gessen’s The Future Is History: How Totalitarianism Reclaimed Russia for nonfiction, and Frank Bidart’s Half-light for poetry.) And Ward also won a MacArthur “Genius” Grant, alongside fellow non-white person Viet Thanh Nguyen. #PublishingSoWhite, still, but this year was less embarrassing than most.

6. New Yorker Short Story ‘Cat Person’ Goes Viral

Right before 2017 could end, we were thrilled to see Twitter turn into an Intro to the Short Story class with a focus on Gender and Sexuality. “It’s a perfect storm of a story: one that deals with a young woman’s complicated experience of sex and consent, coming at a time when such experiences are a topic of national conversation, and published in a high-prestige magazine,” we wrote. “It’s not quite topical enough to seem crass — this isn’t a story about assault or harassment, it’s a story about bad sex — but like recent reporting on those topics, it illuminates a dark corner of many women’s personal histories. Apparently, that combination made it catnip (pun intended) for Twitter.”

5. Problematic Young Adults Books Blow Up The Internet

The publishing world, after being called out for being 79% white in a survey in 2016, seemed to be making conscious efforts to publish diverse titles written by people of color. However, this can only be successfully accomplished by actually hiring people of color to work in publishing. Without doing so, you set yourself up for publishing books that will make the Internet explode. And one genre you definitely didn’t want to mess with was Young Adult.
This year, we saw the Twitter community explode over The Black Witch, a YA novel that attempted to make a point about racism, but did so in ways that plenty of readers found…racist. Reviewers initially lauded the book for being, “a compelling tale of romance and rebellion with valuable discussion about prejudice.” But after its publication, Harlequin Teen’s inbox was overrun with angry emails demanding the title be pulled from publication. L.L. McKinney summed up the argument in this tweet, “In the fight for racial equality, white people are not the focus. White authors writing books like #TheContinent or #TheBlackWitch, who say it’s an examination of racism in an attempt to dismantle it, you. don’t. have. the. range.”

Laura Moriarty’s American Heart had a similar story: its white savior narrative was glaringly obvious to many readers but was initially overlooked by reviewers. In fact, Kirkus gave the book a starred review, calling it, “terrifying, suspenseful, thought-provoking, and touching.” The only “terrifying” element of the story, according to other non-Kirkus reviews, was the way that its Muslim characters were seen only through a non-Muslim lens. The anonymous (but Muslim!) Kirkus reviewer agreed to rescind her star, and Kirkus also altered her review, apparently without her input.

Photo by Cliff

4. The Literary Legends We Lost This Year

The literary world lost a lot of greats this year. We mourn their loss, but are grateful that they will live on through their work. In Memoriam: John Ashbery (Pulitzer Prize-winning poet), Michael Bond (creator of Paddington Bear), Colin Dexter (author of the Inspector Morse series), Paula Fox (author of Desperate Characters), William H. Gass (experimental writer), Bette Howland (author of Blue in Chicago), Judith Jones (editor of The Diary of Anne Frank), Denis Johnson (author of Train Dream), Liu Xiaobo (Nobel Prize-winning essayist, poet & dissent), Robert M. Pirsig (author of Zen and the Art of Motorcycle Maintenance), Lillian Ross (journalist for The New Yorker), Robert B. Silvers (founding editor of The New York Review of Books), Sam Shepard (Pulitzer Prize-winning playwright), Jean Stein (oral historian), Derek Walcott (poet & playwright), Heathcote Williams (playwright), and many other literary luminaries.

3. Simon & Schuster Offers Milo Yiannopoulos A Book Deal, Backs Out, and Gets Sued

Milo Yiannopoulos, a leading “alt-right” white nationalist, secured a $250,000 advance on a book to be published by Threshold Editions, a “contemporary conservative” imprint of Simon & Schuster. After news spread of the (now former) Breitbart editor’s six-figure deal, editors, authors and readers condemned the publisher and vowed a boycott. Roxane Gay, the author of Bad Feminist and Difficult Women, pulled her forthcoming title, How to Be Heard, from the publisher’s TED Books imprint. She said “I’m not interested in doing business with a publisher willing to grant him that privilege,” adding on twitter: “I can afford to take this stand. Not everyone can. Remember that.” Soon after, S&S pulled Yiannopoulos’ book deal after a video came to light that “showed him trivializing pedophilia and questioning the ‘arbitrary and oppressive’ age of consent.” Yiannopoulos responded by self-publishing his memoir under his own imprint dedicated to “the destruction of political correctness and the progressive left,” and suing S&S for $10 million. The winner in this story? Roxane Gay, feminist favorite, for standing up for her beliefs even to her own financial detriment.

2. Trump Wants to Kill Funding for the Arts

The President released a budget proposal that would eliminate the National Endowment of Arts and the National Endowment for the Humanities. The $300 million combined annuals budgets of the two independent cultural agencies amounts to 0.02% of the $1.1 trillion of total annual discretionary spending, a paltry sum made even more negligible next to the estimated $70 billion cost of building an unnecessary border wall. The NEA and NEH provides much-needed funding to “artists, writers, magazines (like Electric Literature), libraries, local television stations, radio programs, therapy for military veterans, classes for underserved students, concerts, plays, exhibits” and thousands of other vital cultural projects that enrich America.

1. Sexual Harassment Allegations Roil the Publishing Industry

Publishing is an industry staffed by women but controlled at the top by men. This hierarchical gender imbalance has led to an environment rife with sexual harassment by male editors exploiting their influence as gatekeepers. Now, after decades of silence, the publishing industry is finally having its #MeToo reckoning. Lorin Stein, editor-in-chief of The Paris Review, resigned after the literary magazine launched an investigation into his behavior towards female colleagues. He had confessed to “engaging in consensual sexual behavior” with interns and writers at the magazine. Hamilton Fish, president and publisher of The New Republic, resigned after similar sexual misconduct claims. Leon Wieseltier’s new magazine folded after the former editor of The New Republic admitted to “misdeeds” against his former female employees. Others accused of sexual misconduct are Penguin Random House art director Giuseppe Castellano, Mother Jones editor and chief executive David Corn, NPR senior vice president for news Michael Oreskes, Lockhart Steele of Vox, star reporter for The New Yorker Ryan Lizza, Artforum publisher Knight Landesman, DC Comics editor Eddie Berganza, and veteran playwright Israel Horovitz.

9 Books About Faith That Even Atheists Can Believe In

This time of year can be tough. While it brings out the festive and the merry, it also means the return of traditions both charming and oppressive, and a lot of religion. For centuries, religious faith has simultaneously been used as a form of liberation and subjugation; some have suffered under the doctrines, while others, in following what is writ, have found freedom and escape from the hardened world. Whatever the practice, both questioning and believing in the divine, the supernatural, or the eternal has always gone hand in hand with being human. Whether you consider yourself to be a devout, an atheist, a nihilist, a unitarian, or somewhere in between, here’s a list of praise-worthy books that explore the tricky business of religiosity and spirituality, the ineffable ether, doubt, and denial.

The Mothers by Brit Bennett

Brit Bennett’s debut opens with a chorus, the fiery matriarchs of a church in Southern California whose observations in part give the novel its name. The drama of Bennett’s novel centers on a secret involving two young lovers and that results in a scandal that irrevocably changes the congregation of the Upper Room Chapel. Written with searing wisdom and gut wrenching honesty, the strength of Bennett’s story lies in its ability to convey how fraught the line between desire and devotion can be. Through her protagonists’ eyes, readers are confronted with the transformative nature of love and loss.

The Traveling Death and Resurrection Show by Ariel Gore

The Traveling Death and Resurrection Show meshes the sideshow circuit with the ritual-steeped tradition of Catholicism. Ariel Gore’s heroine, the orphaned Frances Catherine a.k.a. Frankka, exhibits the wounds of Christ when she’s hungry. This phenomena propels Frankka on a strange yet fascinating series of misadventures alongside a group of oddball performers and seers. As the group’s travels earn them fame and Frankka’s supernatural ability is revealed to the masses, she and her makeshift family find themselves at risk. While on the run, she crosses paths with Dorothy, a deeply devout woman who helps her make sense of not just her abilities, but her life. A tale of self-discovery, faith, and belonging, Gore’s novel will feel hallowed to even the biggest skeptic.

Ninety-Nine Stories of God by Joy Williams

In the first story of her collection, Joy Williams writes, “What she wrote was not important. It was the need that was important.” Throughout Ninety-Nine Stories of God, Williams peels back the many layers of “the need” alluded to in her opening story. Each narrative transforms the concept of god into a metaphor or coping mechanism meant to ease the anxieties of being human. At times, Ninety-nine Stories of God reads like a fabulist scripture, each vignette and flash-length vision bringing her audience closer to understanding the purpose behind the divine and our need to embrace or reject it.

The Power of Reading in the Face of Apocalypse

Parable of the Talents by Octavia E. Butler

In the opening to Parable of the Talents, sci-fi pioneer Octavia E. Butler writes, “We are born not with purpose, but with potential.” Prefaced by the sage words from Earthseed’s Book of the Living, Butler’s sequel to Parable of the Sower continues the legacy of Lauren Olamina, a teenage girl who searched for truth and meaning in an apocalyptic world ruled by a maliciously conservative tyrant. Told through a series of journal entries and first person accounts by those who knew her, this arresting, timeless novel examines the way faith is often used to mask intolerance and injustice. Somewhere between a gospel and a cautionary tale, The Parable of Talents will shake you to your core.

The Wonder by Emma Donoghue

Inspired by the historical phenomenon of fasting girls, Emma Donoghue’s novel The Wonder follows Lib Wright, a nurse, and her observation of Anna O’Donnell, an 11-year-old girl who’s miraculously abstained from eating for four days. Charged with the task of determining whether Anna’s fasting is a miracle or an act of fraud, Lib finds herself immersed in a community rooted in age-old folktales and religious superstition. Through vivid observations and gripping characterization, Donoghue examines the intersection between loss, faith, and the politics of the female body. Each page possesses haunting truths.

Electric Literature’s 15 Best Short Story Collections of 2017

The Miracle Girl by Andrew Roe

The Miracle Girl begins with a multitude of onlookers, believers, and strangers craning their necks in hopes of catching a glimpse of the Anabelle Vincent, a young girl in a coma-like state. A rumor that visiting her bedside can lead to miraculous events spreads, and the small town in which Anabelle rests becomes the epicenter of a national curiosity. Andrew Roe’s enthralling and intimate novel uncovers how believing in the impossible can change a person, for better or worse.

Lotería by Alberto Zambrano

Throughout the spellbinding pages of Mario Alberto Zambrano’s novel, Luz attempts to grapple with the aftermath of a traumatic event. Amidst the chaos, she finds solace in a Lotería deck. A hybrid between playing cards and Tarot, each of these 54 cards help her piece together an experience she’s unable to share verbally. Drawing cards like La Sirena, La Luna, and El Mano become a catalyst and a curative balm alleviating the weight of her family’s deepest secrets and wounds. Zambrano’s narrative is a heartfelt look at how ritual and storytelling can lead to salvation.

Sum: Forty Tales From the Afterlives by David Eagleman

Sum: Forty Tales From the Afterlives offers readers a hypothetical array of what lies beyond the proverbial veil. With the descriptive prowess of a poet and the pragmatism of a scientist, David Eagleman’s speculative afterlives capture the essence of mortality, the myriad of feelings that go hand in hand with being alive. Whether it be an afterlife defined by softness or an afterlife that only begins once your name is spoken for the last time, Eagleman’s exploration of the eternal will make you examine how you calculate the totality of your life.

The Book of Joan by Lidia Yuknavitch

Set in an environmentally desolate future, Lidia Yuknavitch’s latest novel is a dystopian take on the story of Joan of Arc. In Yuknavitch’s retelling, the heroine is a young girl named Joan who possesses the power to destroy Jean de Men, a callous cult leader who rules without heart or conscience. Despite her power, Joan is sentenced to death by her enemies, much like her historical namesake. Although she does not survive, her story lives on, inscribed on the bodies and souls of women who, like Joan, yearn to be free. A dark yet illuminating commentary on gender and the dangers of patriarchy, The Book of Joan is a riveting meditation on the power of resistance.

Electric Lit’s Top 25 Posts of 2017

Nobody is going to pretend that 2017 was a good year. But even in the midst of a perpetual waking nightmare, it’s important to appreciate the stories that kept you informed, entertained, illuminated, or just distracted. (Maybe especially in the midst of a perpetual waking nightmare.) Here are the bright spots in our year: the humor you laughed hardest at, the criticism you found most interesting, the news that spread fastest, the essays that resonated with you, the writing advice that changed your craft.

We’re proud of all these pieces, of course, but to be honest, we’re proud of our readers too. Your reading habits showed us that you’re hungry for hard-hitting feminist essays, books by women of color, and deeply-researched histories of magazines or genres. Yes, sure, we have fun—creepy bunnies, dancing librarians, sass from Kurt Vonnegut himself. But taken as a whole, the story of our highest-traffic articles is a story about looking for thoughtful, progressive writing in the midst of chaos.

In reverse order, counting down to number one, here are our 25 most-read stories of 2017. Thanks for reading, and stay tuned—2018 will probably be even worse, but at least we’ll still be here.

25. Librarians Are Secretly the Funnest People Alive

What goes on in the library after the patrons have gone home? Apparently, it’s mostly music videos. Electric Lit intern Jo Lou rounded up eight examples of all-singing, all-dancing librarians.

Here are seven times that librarians have debunked the stereotype that they are uptight scolds ready to shush those who dare to have fun in their sacred institution.

Drawing by Sara Lautman

24. Behold the Winners of the 280-Character Story Contest

When Twitter decided to expand the maximum character length for a tweet from 140 characters to 280, we were skeptical, but we also saw it as a fertile opportunity for microfiction. The five winners of our 280-character story contest, illustrated by Sara Lautman, show that it’s possible to be funny, perplexing, tragic, absurd, and barbed in very few words.

We hadn’t known it was possible to pack so much drama into 280 characters, but in accordance with our theme — “the story must be about something getting magically, randomly, inexplicably, or mysteriously bigger, longer, or just… more”— these snippets of fiction seemed to expand to contain something bigger than themselves.

23. The Secret to Viet Thanh Nguyen’s Overnight Success

Short answer: It didn’t happen overnight. Joe Fassler interviews the MacArthur-winning writer about the decades of work that went into his apparently meteoric rise.

In this interview, he opens up about a period of his life that’s been mostly overlooked: the two decades he spent trying, and mostly failing, to write fiction, working in secret while he juggled a host of other responsibilities. We discussed the 20 years of work that preceded his debut, the challenges he faced along the way, and — when it seemed his literary ambitions would never quite materialize — the strategies he used to keep going.

22. This Book That Scammed Its Way Onto the Times Bestseller List Is Real, Real Bad

The wildest story in publishing this year was probably the saga of a dreadful novel that launched a wily scam to rank on the New York Times bestseller list—and the scrappy band of young adult authors and readers who figured out what happened.

It’s not that tricky to buy your way onto the bestseller list if you just put in some huge bulk orders; it’s legal and not even that uncommon. (Becoming an Amazon bestseller is even easier.) But the Times adds an asterisk to any book whose sales rank is affected by bulk purchases. Sarem (or someone) seems to have gamed the numbers by arranging large buys — only from verified NYT-reporting bookstores — of just under the amount that would trigger such a caveat.

21. How to Escape the Slush Pile

Sure, rejection is an inescapable part of writing, but there are ways to improve your odds. Recommended Reading associate editor Brandon Taylor reads (and rejects) a lot of short story submissions, not to mention being a successful fiction writer in his own right, so his handy checklist of ways to avoid the slush pile comes straight from the source.

Most writers say that if you’re not getting rejected, you’re not submitting enough. Others say that you should aim for 100 rejections a year. This is solid advice, but at a certain point, if you’re trying to establish a career as a writer, some of those rejections need to turn in to acceptances.

20. Indie Bookstores Tell Us About Their Most Stolen Books

Even though everyone knows that stealing from an indie bookstore will send you straight to Literary Hell, it still happens. But which books are most likely to walk out the door? Jo Lou talked to eleven indie bookstores around the country to try to map the psychology and preferences of book thieves.

The conclusion we’ve come to is that people steal books that they think will make them seem smart but perhaps have no intention of reading (and hence don’t want to pay for?).

19. The Secret History of Cricket Magazine, the ‘New Yorker for Children’

The children’s literary magazine Cricket, founded in the ’70s and still going strong, offered a lot of kids their first encounters with poetry and stories that didn’t talk down to them. Writer A.J. O’Connell talked to founders, former employees, and fans of Cricket to track the magazine’s history and influence.

In a time when children’s magazines mostly featured hidden object drawings and games, Cricket stubbornly refused to underestimate its young readers. It welcomed their correspondence, and was such a human endeavor that for many readers, finding Cricket in the mailbox every month was like a visit from a friend.

18. Against Worldbuilding

Former Electric Lit editor-in-chief Lincoln Michel has some concerns about the concept of “worldbuilding” in science fiction. Can we do better than “worldbuilding,” or at least bring new nuance to the idea?

In contrast to “worldbuilding,” I’ll offer the term “worldconjuring.” Worldconjuring does not attempt to construct a scale model in the reader’s bedroom. Worldconjuring uses hints and literary magic to create the illusion of a world, with the reader working to fill in the gaps. Worldbuilding imposes, worldconjuring collaborates.

The Lilly Library, Indiana University, Bloomington, Indiana

17. Sylvia Plath Looked Good in a Bikini—Deal With It

The new U.K. edition of Sylvia Plath’s collected letters features a photo of the author in a modest bikini, and the image raised a few hackles. Plath scholar Emily Van Duyne would like everyone to settle down and recognize that women authors can have full, three-dimensional lives—which, yes, sometimes means they wear bikinis and lipstick while also being intellectuals.

The image of Plath, smiling in her Smith graduation robes, causes cognitive dissonance and, ultimately, disappointment. It’s the same cognitive dissonance we, as a culture, collectively suffer about Sylvia Plath, and indeed about any woman lauded for her intellect who also has the nerve to inhabit a body: That’s her? Isn’t she a little too beautiful? Isn’t she not beautiful enough?

16. Roxane Gay Pulls Book from Simon and Schuster, Citing Milo Yiannopoulous Deal

We love it when a piece of news resonates both within and outside the literary community. We love it even more when there’s schadenfreude involved. This item, written up by Electric Lit intern Jackson Frons, ticked all the boxes.

Responding to Simon and Schuster’s plans to publish “alt-right” troll Milo Yiannopoulous’s new book, Roxane Gay has officially pulled her forthcoming title, “How to Be Heard,” from the publisher’s TED Books imprint.

15. Kurt Vonnegut Walks Into a Bar

In an excerpt from his memoir The Accidental Life, Terry McDonell tells a tale of epic shade by a giant of literature.

He lifted his glass of Scotch as if in a toast but wouldn’t look down at me, sitting to his right. “I think you’re all moderately gifted.”

14. 18 (More) Amazing Novels You Can Read in a Day

There are plenty of reasons to love a short book: you’re lazy, you have no attention span, you want to be able to pad out the number of books you read this year. Any of those could be the reason why so many people read Lincoln Michel’s list of quickie novels—but it could also just be that these are really great books.

“Short” here is defined as under 200 pages. Just long enough to read on a short flight or a long ride.

13. The Epilogue of ‘The Handmaid’s Tale’ Changes Everything You Thought You Knew About the Book

If you haven’t read The Handmaid’s Tale in a while, or if you’ve only been watching the show on Hulu, you might have forgotten the framing device: an epilogue that indicates we’ve been reading a manuscript discovered, edited, and presented by male scholars. Anna Sheffer would like to draw your attention to what this epilogue does to the story.

The two male researchers take full advantage of their ability to title the manuscript and bestow on it a cheeky name that alludes to and, by making a pun, mocks Offred’s sexual servitude. Thus, the entirety of Offred’s story is controlled by men; even the thoughts that she records are discovered, edited, and titled by men. She has no autonomy or authority over her own story.

12. I Pretended to Be Emily Dickinson on an Online Dating Site

Erin Bealmear made an Emily Dickinson-inspired OkCupid profile out of simple curiosity, but the results are both funny and surprising. “Emily” didn’t just get male attention—she got, in some cases, more attention than Erin’s real profile. Why does everyone want to get with a dead poet?

Maybe this wasn’t your run-of-the-mill OkCupid projection about a real-world woman. Maybe this was a step beyond that: a fantasy about an interesting, talented, dead woman with a penchant for morbidity. The “Belle of Amherst” had suddenly become the “Depressive Dream Girl” of online dating.

11. 6 West African Books with Unconventional Approaches to Gender and Power

Novelist Chinelo Okparanta recommends six books by West African authors that have interesting things to say about familial relationships, aging, gender, and other central human themes. Does the publishing world know how much people want books like this?

In my novel, “Under the Udala Trees,” I explore the themes of betrayal and rebirth and happiness in the context of gender and power. In writing the novel, I imagined, unlike Ramatoulaye, a sort of happiness that existed outside of the traditional schema of marriage. Or rather, I imagined the pursuit of that sort of happiness. The fundamental desires of my protagonist, Ijeoma, are unconventional in her West African setting in the sense that she does not find her value via an attachment to a man. Lately, I’ve been interested in finding other West African authors who are also unconventional in their portrayal of love and marriage, of gender and power.

10. 10 Novels Agents Have Already Seen a Billion Times

Literary agent Kate McKean wants your novel to succeed, which is why she’s letting you in on a little agent secret: they’re wildly sick of these ten book types. It’s servicey and funny!

All those wacky stories from your grandpa/hairdresser/neighbor/ex-friend that are just soooooo good that you could make them into a story, kinda like “Life of Pi” but maybe not so Indian and more about your mom’s summer camp in Connecticut? A series of anecdotes does not add up to a novel. If you have to say “but it really happened!” to convince the reader, Anne Lamott comes over and takes back your copy of “Bird by Bird.”

9. The Rise of Dystopian Fiction: From Soviet Dissidents to ‘70s Paranoia to Murakami

People are into dystopian fiction right now because we feel like we’re living in a dystopia—but we kind of always have been, because we kind of always have. What kind of dystopian fiction we like, though, depends on what kind of dystopia we feel like we’re living in. Yvonne Shiau tracks nearly 100 years of sci-fi grimness.

And so in today’s crop of dystopian fiction, the stakes are bigger than ever. Continuing in a proud tradition, they carry on vindicating the definition of a dystopia: a worst possible world. But what each of them (sometimes) offers is a brief, shining belief that such a world can be fixed. And now, the resurgence of sales for books such as “1984and “Brave New World” shows that a vast contingent of us continue to turn towards the genre for comfort, or answers.

8. Late to the Party: Stephen King’s IT

In preparation for the movie adaptation of IT, Henry Hoke recorded his impressions of reading the book for the first time as part of our Late to the Party series.

This book is huge and it’s clearly not about a killer clown. It’s about something much worse.

7. The Book That Made Me a Feminist Was Written By an Abuser

This essay, part of our Novel Gazing personal essay series, was submitted in response to the prompt “what book was your feminist awakening?” Jessica Jernigan’s response was that The Mists of Avalon taught her about feminism—but feminism taught her to trust the victims of sexual assault. So what do you do when you find out that your feminist core text was written by an abuser? A timely essay that was a lot of readers’ first exposure to the accusations against Marion Zimmer Bradley.

The question of separating the abuser from his work metastasizes, and I don’t have any easy answers. Or, rather, I do have one easy answer: When someone says they’ve been assaulted, abused, harassed, I believe them. But I believe them, in part, because of lessons I absorbed from “The Mists of Avalon.”

Image by Kelly Connole

6. Five Disturbing Stories About Bunnies

There’s something really freaky about rabbits, and on some level everyone knows it. Why else would there be so many extremely creepy rabbits in literature? And I don’t want to hear about how bunnies are cute and not creepy at all; so many of you read this Lincoln Michel piece that I know you know in your heart what’s up.

Easter is almost here, which means that children across the world will be hiding in their bedrooms, trembling in fear of the grotesquely large Easter Bunny — a frightening mythological monster as large as a man with hind legs able to crush human bones like matchsticks. This weird creature is said to stalk around houses, secreting “eggs” from its quasi-mammalian glands in hiding places for unlucky children to find.

5. Men Recommend David Foster Wallace to Me

Deirdre Coyle’s terrific essay, part of our Late to the Party series, interrogates why she hadn’t ever read Brief Interviews with Hideous Men. Her conclusion: She just doesn’t care that much, and men take that indifference very personally. Boy did some men prove her point! The rest of us sure related, though.

Here’s the thing: I don’t doubt that Wallace is a genius. And it’s not that I believe there’s no value in self-indulgent works by men. It’s just that I’m not very interested in them. These men seem to think I’m saying the thing they love is bad, when really I’m just saying I don’t care about the thing they love.

4. 34 Books By Women of Color to Read This Year

Women of color are starting to get more of their literary due—praise hands emoji for two-time National Book Award winner Jesmyn Ward!—but it’s still no easy task finding books by non-white non-men on publisher’s lists. It’s clear, though, that y’all are clamoring for those books, which is why writer R.O. Kwon will have another list for 2018 along shortly.

A xenophobic, misogynistic fascist is president; hate is ascendant; and it’s easiest to forget the shared humanity of people whose lives we haven’t tried imagining. Studies show, for instance, decreased homophobia among Americans who have so much as watched a bit of Will & Grace. Inclusion has real consequences, and if you’re looking for the perfect gift to buy your Republican uncle or your racist cousin, here’s a shopping list.

3. 20 Authors I Don’t Have to Read Because I’ve Dated Men for 16 Years

Helena Fitzgerald, the author of this piece, actually likes David Foster Wallace. But once again, the concept of a woman not especially caring about men’s most venerated writers caused a lot of outcry from a certain type of dude. The rest of us, though, recognized this list as screamingly funny and horribly true.

Anyone who really, sincerely loves Franzen’s writing has also probably really, sincerely told someone that “learn to code” was the solution to all their problems. The Corrections also contributed to the obsession with the literal and figurative “big book,” in which the size and weight of a novel directly equals its importance, a concept applied almost exclusively to novels by men.

Photo by Internaz

2. The Entire President’s Council on the Arts and Humanities Just Resigned

We’re all concerned about the future of the arts under an administration of proud ignoramuses, so this piece of news felt like a dire harbinger of things to come.

The advisory committee, appointed by President Obama, hasn’t met under Trump, perhaps because he is actively hostile to their work. (Honorary chair Melania Trump, who did not sign the letter of resignation, also doesn’t seem very motivated by art; we’ll refrain from speculating on what she is motivated by.) But it’s continued work on preexisting projects — until today.

1. What I Don’t Tell My Students About ‘The Husband Stitch’

That’s right: Our most-read story of the year, by a long shot, was a thoughtful feminist essay about a beautiful, chilling short story from Her Body and Other Parties by Carmen Maria Machado. We hope all of you, and author Jane Dykema, feel genuinely great about yourselves for this.

In class, I don’t say to my students, “Do you feel it, too? Or can you imagine it? The perils of living in a world made by a different gender? The justified and unjustified mistrust? The near-constant experience of being disbelieved, of learning to question your own sanity? How much more it hurts to be let down by ‘one of the good ones?’” Instead I say, “What effect do the horror tales have, placed associatively where they are in the story? What effect do the stage directions have? What would be lost without them? Do you see how they’re braided together? These are tools you can use in your own stories.”

Electric Literature’s 25 Best Novels of 2017

What with the impending demise of net neutrality and social media turning into a toxic snake pit, you’re going to want to be spending a lot more time curled up with a book. Celebrate the end of a lousy year and the start of a probably lousier one by picking up a few of the 25 novels that Electric Literature staff and contributors voted as our favorites of 2017. With National Book Award finalists and winners as well as weird small-press offerings, we’ve got something for every taste.

You can also check out our favorite nonfiction books and short story collections of the year.

A Separation, Katie Kitamura

“Division, secrets, and lies abound in Katie Kitamura’s spare and unsettling A Separation, a novel that focuses itself on the end of marriage and the stories that exist within such a murky, and often opposing, area,” wrote Bradley Sides in his Electric Literature review of A Separation. “The unknown is where much of life exists. There’s horror and there’s comfort in it. A Separation reminds us that not knowing is okay. In fact, sometimes it’s for the best.”

Read our review of A Separation.

All Grown Up, Jami Attenberg

Attenberg’s funny, imperfect protagonist Andrea has been criticized for being selfish—not just because she’s a single, childless career woman, but because the book concerns her inadequacy at caring for her brother whose child is dying. But isn’t it time for fiction to explore women’s selfishness the way it’s often explored men’s? Andrea isn’t admirable, or even necessarily likable, but she’s interesting. If you’d spend a whole novel with Fran from Black Books, this one’s for you.

Read our interview with Jami Attenberg.

Broken River, J. Robert Lennon

This creepy, riveting novel is a haunted house story with a twist. A dysfunctional family moves into a house touched by tragedy, and begins to investigate its strange past—but we also hear from an omniscient, supernatural presence, the Observer, a sort of narrator-turned-spirit. It’s a consciously cinematic approach to a classic film subject—think Amityville Horror—given new life.

Conversations with Friends, Sally Rooney

Rooney’s debut novel is about infidelity, self-image, and the intimacies of female friendship, but she’s most adept at exactly what it says on the tin: conversation. The novel’s interactions spool out in emails, texts, and dialogue, offering beautifully three-dimensional images of intricate, difficult characters and relationships.

Exit West, Mohsin Hamid

“The unrest roiling Nadia and Saeed’s city will be a third party in their relationship, at first thwarting their attempts at connection and then hurrying them into an intimacy that, in other circumstances, they might or might not eventually choose,” wrote Rebecca Saletan, recommending Mohsin Hamid for Recommended Reading. “When the tension explodes, turning familiar streets into a patchwork of checkpoints and bomb blasts, they will begin to hear whispers about doors — doors that can whisk people far away, if perilously and for a price. And as the violence escalates, Nadia and Saeed will decide that they no longer have a choice.”

Read an excerpt from Exit West on Recommended Reading.

Read our interview with Mohsin Hamid.

Fever Dream, Samanta Schweblin

“Attempting to describe Fever Dream isn’t an easy task,” wrote Tobias Carroll in his review of Schweblin’s book for Electric Lit. “The shifting power dynamics that fuel its energy make for a thrilling reading experience, with their revelations causing the reader’s knowledge of what’s come before to alter again and again. Perhaps it’s a conspiracy plot like no other; perhaps it’s as ephemeral as its title suggests. … To say that this novel perfectly evokes the experience of its title, then, is meant as the highest compliment: the delirium of the unconscious, and all the terrors it can dredge up.”

Read our review of Fever Dream.

Goodbye, Vitamin, Rachel Khong

“A heartwarming book about Alzheimer’s disease? Seriously?” begins NPR’s review of Goodbye, Vitamin. Yes, seriously: Khong’s book is about a young woman who moves home after a bad breakup to take care of her ailing father, but it’s also full of whimsy, humor, and even optimism for its heartbroken protagonist and her family.

Read our interview with Rachel Khong.

How to Behave in a Crowd, Camille Bordas

If you’ve had enough of novels narrated by precocious preteens, here’s an interesting twist: How to Behave in a Crowd is narrated by a preteen who’s the least precocious person he knows. Bordas’ protagonist, Izzy, is a funny, neurotic kid trying to navigate a family filled with socially awkward savants.

Read our interview with Camille Bordas.

Lincoln in the Bardo, George Saunders

Saunders’ epic-length novel deals with death, the afterlife, and history, and specifically with Abraham Lincoln and the dead body (and ghost) of his 11-year-old son. “If, to you, the notion of a book built on a little boy’s corpse sounds depressing, that’s because it’s a depressing book,” wrote Kevin Zambrano in his Electric Literature review. “It’s also very fun: dramatic, witty, and unabashedly sentimental. What else would you expect from George Saunders, the Willy Wonka of American letters, who coats life’s cruel absurdities in a sugary glaze?”

Read our review of Lincoln in the Bardo.

Read our interview with George Saunders.

Little Fires Everywhere, Celeste Ng

The idealistic, self-congratulatory, and very white community of Shaker Heights, Ohio—Ng’s real hometown—is rattled by a custody battle over a transracial adoption in this tightly-plotted, highly empathetic book. (It’s also set in the ’90s, so if you’re aching for a return to a familiar but pre-internet era, now’s your chance.)

Read our interview with Celeste Ng.

Made for Love, Alissa Nutting

So many parts of Made for Love should be gross, glib, or otherwise off-putting: the dying dad splashing out on fancy sex robots, the lothario with an unexpected dolphin fetish, the dystopian Google analogue run by a sociopath. And yet somehow, it is instead an engrossing romp that’s hilarious and heartbreaking at once.

Read our interview with Alissa Nutting.

Marlena, Julie Buntin

We’ve been lucky enough to have a glut of recent novels investigating the heady power of female friendship, and especially its nuclear potential among teen girls. Marlena is one of the best of the lot. “In a world that sometimes treats Boyhood like the most vital of subject matter and Girlhood like a frivolous beach read, I am so grateful for Julie’s work,” wrote Rachel Fershleiser in Recommended Reading. “It treats the inner lives of young women, even and especially poor, rural, flunking-out-of-school young women, with gravity and sensitivity.”

Read an excerpt from Marlena on Recommended Reading.

Read our interview with Julie Buntin.

Read a literary mixtape by Julie Buntin.

Pachinko, Min Jin Lee

National Book Award finalist Pachinko is a family epic about Koreans in imperialist Japan. It’s a deeply-researched piece of historical fiction that still feels urgent, relevant, and full of human emotion.

Sing, Unburied, Sing, Jesmyn Ward

Do you need to know more about Sing, Unburied, Sing than the fact that it won a National Book Award, Ward’s second? All right: it’s a complex, luminously written book about a fraught family road trip, thick with anxieties, racial and interpersonal tensions, and a few actual ghosts.

Read our interview with Jesmyn Ward.

Read an essay about Jesmyn Ward’s National Book Award remarks.

Sorry to Disrupt the Peace, Patty Yumi Cottrell

“Not many writers can pull off this sense of controlled chaos like Cottrell does, let alone adding that on top a suicide mystery, tension of race, and exploring adoption,” wrote Erynn Porter in her Electric Literature review of this novel, in which the narrator investigates her adoptive brother’s suicide. “Sorry to Disrupt the Peace is a book you can’t put down, and once you do, the whole world shifts.”

Read our review of Sorry to Disrupt the Peace.

Read our interview with Patty Yumi Cottrell.

Stephen Florida, Gabe Habash

Stephen Florida is hard to classify,” wrote Bradley Sides in his Electric Literature review of this debut novel about a troubled young wrestler. “Yes, it’s an intense character study, but it’s also a fierce and ambitious horror novel, exploring the very real dangers we try to keep at bay in so many of our seemingly harmless obsessions. There are scenes so remarkably dark that I had to put the book away. There’s anger in these pages — and there’s pain.”

Read an excerpt from Stephen Florida in Recommended Reading.

Read our review of Stephen Florida.

The Answers, Catherine Lacey

The only reliable way to find answers is through experimentation, and The Answers is rife with it: an experimental medical treatment undertaken by the protagonist Mary, and an emotional experiment in which she performs one of several girlfriend roles for a narcissistic actor who thinks love might work best by committee. “Lacey is an explorer; she seeks truth through her fiction, and that’s what truly great fiction writers are supposed to do,” wrote Jason Diamond, recommending The Answers in Recommended Reading. “She explores modern isolation, and she always produces something beautiful even where there should be darkness.” Like the best experiments, The Answers is risky and full of insights.

Read an excerpt of The Answers on Recommended Reading.

The Book of Joan, Lidia Yuknavitch

Joan of Arc in space. Honestly, that should be enough to get you to read The Book of Joan. But if for some reason you need more, listen: Carmen Maria Machado, herself a master of genre-bending feminist fiction, wrote that “its searing fusion of literary fiction and reimagined history and science-fiction thriller and eco-fantasy make it a kind of sister text to Jeff VanderMeer’s ineffable Southern Reach trilogy.” And you know we love the Southern Reach.

Read a discussion of The Book of Joan.

Read our interview with Lidia Yuknavitch.

Read an essay by Lidia Yuknavitch.

The Changeling, Victor LaValle

“Why aren’t there more domestic horror novels?” asks Bradley Sides in his review of The Changeling, a book in which a young family goes horribly awry. “Thoughts of inadequacy and even total failure haunt all of us at some point. Victor LaValle, who is best known for his past novels The Devil in Silver and Big Machine, brilliantly and terrifyingly explores the common horrors of domestic life in his latest genre-bending novel.”

Read our review of The Changeling.

Read an essay by Victor LaValle.

The Leavers, Lisa Ko

When a debut novel gets shortlisted for the National Book Award, you sit up and take notice. Lisa Ko’s book about the American-born son of immigrants and his undocumented mother’s sudden disappearance is timely, compelling, harrowing, and profound.

The Sarah Book, Scott McClanahan

It wasn’t an accident that Electric Lit’s staff and contributors nominated The Sarah Book in two categories: novel and nonfiction. This fictionalized memoir of divorce, featuring a protagonist named Scott McClanahan, is so painfully, incisively real that it’s easy to forget that it’s (just barely) a novel.

Read a discussion of The Sarah Book.

Read our interview with Scott McClanahan.

The Seventh Function of Language, Laurent Binet

This metafictional, postmodern burlesque is the kind of story you might make up with your grad school classmates after one too many at the townie bar. It’s about language and semiotics, but also sex, murder, and intrigue. If you’ve been longing for a novel in which Derrida dies horribly, but which also requires you to kind of get Derrida, Laurent Binet provides.

Touch, Courtney Maum

“The author takes on technology and the current moment, but only as a backdrop to good writing,” writes Heather Scott Partington of Maum’s book, which centers on a young woman who works as a trend forecaster for a Google-like company. “The setting facilitates Maum’s work, rather than becoming its center. What emerges from this book about tech is a deep sense that our salvation isn’t going to be found on a tiny, glowing screen.”

Read our review of Touch.

Read our interview with Courtney Maum.

Read an essay by Courtney Maum about communication and technology.

What We Lose, Zinzi Clemmons

What We Lose, the debut novel by Zinzi Clemmons, is a thoughtful exploration of loss and grief, cultural identity and race, motherhood and relationships,” writes Glory Edim of Well-Read Black Girl, recommending an excerpt from Clemmons’ novel for Recommended Reading. “Clemmons has written a poignant tribute to beloved mother and the exploration of creating a life without her, and an emotionally rich book about the experience of being a Black female.”

Read an excerpt from What We Lose on Recommended Reading.

Read our interview with Zinzi Clemmons.

White Tears, Hari Kunzru

Can you write a riveting thriller about cultural appropriation? Maybe you can’t, but Hari Kunzru can. In White Tears, young men who try to gentrify blues music wind up haunted by a vengeful ghost they can’t shake—and which they may have called into being. It’s a stunning critique of whiteness that’s impossible to put down.

10 Novels About How the Working Class is Constantly Getting Screwed

Writing is about capturing the rhythms of real and everyday life, which means questions about class are often at the forefront or in the undercurrent of great fiction. The likes of Charles Dickens, George Eliot, and Émile Zola all explored the dynamics of class in their work; in the first half of the 20th century, American fiction abounded with sharply recorded observations about money and society from acclaimed writers such as Zora Neale Hurston, John Steinbeck, Margaret Mitchell, W. E. B. DuBois, Betty Smith, Lin Yutang, and Richard Wright. The latest proposed tax reform in the U.S. highlights the breadth of disparity that still exists between classes, how little has been done to solve income inequality, and how vulnerable that makes the working classes — both stateside and around the world. Here’s a look at a number of novels that explore the issue from all angles, and the risks of failing to fix it.

Capital by John Lancaster

Besides his work writing fiction, John Lancaster also regularly reports on matters financial and economic. In other words, his novel Capital has plenty of ambition, but also a great deal of knowledge to back that up. In it, Lancaster explores the lives of the residents in a gentrifying London neighborhood, from an aging longtime resident to a talented young soccer player—and shows how they react to a presence seemingly resentful of their status.

Here Comes the Sun by Nicole Dennis-Benn

In her first novel, Here Comes the Sun, Nicole Dennis-Benn explores questions of class, inequality, and social mobility with an evocative setting: a resort in Jamaica and the working-class town around it. The resulting story is a harrowing narrative dealing with inequalities related to socio-economics, gender, and sexuality—and a near-perfect object lesson in how these issues cause huge rifts even within families.

Chronic City by Jonathan Lethem

Many American cities have seen a textbook narrative of income inequality play out within their borders over the last few years. Jonathan Lethem’s Chronic City holds a funhouse mirror up to Bloomberg-era New York, bringing together characters who are both insiders in an affluent world and those who are struggling to make ends meet. The result is an unusual and deeply moving narrative.

The Invaders by Karolina Waclawiak

In The Invaders, Karolina Waclawiak meticulously dissects the social dynamics at work in an affluent Connecticut community. Along the way, she explores how questions of race and gender play into issues of class. As with her previous novel, How to Get Into the Twin Palms, Waclawiak charts out how money and position—and the lack thereof—can prompt desperate acts on the part of even the most idealistic characters.

Double Teenage by Joni Murphy

Joni Murphy’s novel Double Teenage is set largely in the 1990s, and focuses on the shifting friendship between two friends who are in high school as the narrative begins. Lurking in the backdrop of the novel is NAFTA, the trade pact that’s played a significant role in domestic policy debates over questions of employment and inequality in recent years.

Your Heart is a Muscle the Size of a Fist by Sunil Yapa

In 1999, the World Trade Organization met in Seattle, and was greeted by massive protests. The issues raised by those protestors, including the ways in which large corporations could devastate economies around the globe, remain paramount to discussions of inequality today. In this novel, Sunil Yapa explores a host of perspectives in and around the protests, giving a human face to a heated ideological debate.

These Dreams of You by Steve Erickson

As with nearly every novel by Steve Erickson, These Dreams of You is about sundry topics, including the making of David Bowie’s “Berlin” trilogy and the fissuring of a family. But it’s also about the increasingly economically fraught landscape for artists and academics, particularly in the wake of the late-2000s financial crisis. Erickson brings in a number of high concepts here, but his depiction of a family desperately trying to avoid losing everything cuts the deepest.

Rina by Kang Young-sook

For some descriptions of income inequality, only a phantasmagorical tone will do. Such is the case with Kang Young-sook’s novel Rina, which follows the adventures of a young woman leaving her home in search of a better life abroad. What she finds is an array of economic exploitation, terrifying industrial landscapes, and a constant sense of alienation. Her plight is described in a stylized fashion, but the dangers she faces are altogether real, and decidedly contemporary in nature.

The Mare by Mary Gaitskill

Many of Mary Gaitskill’s novels examine imbalances in interpersonal relationships—and so it’s not a shock that her recent novel The Mare adds a heady dose of class to the mix. It focuses on a well-off couple residing north of New York City, and the working-class teenager from the city who they take in one summer. Gaitskill explores the inequalities within this bond, and ponders whether genuine connection is possible when matters of class are involved.

Moxyland by Lauren Beukes

One of the side effects of income inequality is the way it enables corporations to chip away at our identity. Similarly, it reveals our materialism, how we’re willing to compromise for lower prices on products, social connections, and something shiny and new. Lauren Beukes’s Moxyland imagines a near future where all of these things have been taken to their logical and extreme end points; the result is akin to a blend of George Saunders’s anti-consumerist narratives and William Gibson’s uncanny futurism.

There is No Such Thing as an Accidental Death

“Liability”

by S. P. Tenhoff

Doug hit the kid while he was driving home from his weekly chess game with Otto the liquor store clerk. He had lost the game in a humiliating reversal, after feeling sure he had Otto whipped using an obscure line of the Taimonov system found in an old Chess Life. Otto gloated, as usual. He went backwards for Doug, replacing pieces on the board, untangling positions, all the way to the point of the fateful blunder.

“Here’s where your game went south,” Otto said mournfully, his fingertip on a bishop’s slotted head. “Right here.”

The kid sped into the intersection on a mountain bike, straight through a red light, torso tilted down aerodynamically. The bike ended up half under his car and the kid ended up down the street. A guy and his dog came over and watched the kid twitch for a little while. Doug joined them.

“You got your phone?” the dog owner said. “’Cause I don’t. Otherwise I’d call.”

Doug took his phone out of his pocket.

“You want me to make the call for you? Can you handle this?”

“I’m fine,” Doug said, handing the guy his phone.

There was no blood. The kid twitched. He looked maybe fourteen. The dog owner called 911 and gave their location and Doug’s license plate number.

“She says don’t touch him,” the dog owner told him.

“I’m not going to touch him,” Doug said.

The dog quit sniffing the kid and looked up at its master with a let’s get moving kind of expression.

“She said five minutes if you can believe her,” the dog owner said, returning his phone. “Don’t touch him. Just leave him be.”

“Right.”

The kid wasn’t moving anymore.

“Which, hell, we don’t need her to tell us right? What are we gonna do? Don’t touch them. That’s the first rule. Leave it to the professionals. ’Cause you could do more damage that way. Shifting things that are you know. . .”

“Right.”

“Jesus Christ.”

“He wasn’t wearing a helmet.”

“Jasper, sit.”

An ambulance came, spraying the intersection with the sound and colors of panic. But the men who got out worked in an efficient way that calmed everything down. They worked very fast but without any apparent sense of urgency, reminding Doug of the pit stop crews in professional auto racing. By the time the police arrived the paramedics had the kid strapped onto a stretcher and were putting him in the back of the ambulance. As they sealed him in and screamed away all he could think was: Thank God for those guys! They were like a hazardous waste disposal unit. Or a bomb defusing squad. They were like a special clean-up team that removed impossible things from the intersections of the world.

The police separated them: one talked to Doug and one talked to the dog owner.

Doug kept trying to listen to what the dog owner was saying. He could hear him make a whistling sound as he gestured with one hand.

The cop who was questioning Doug took his driver’s license to the patrol car. After a minute he brought it back.

The other cop squatted and said something to the dog, Jasper.

A car had stopped in the intersection. Inside, a little girl and a man with glasses watched the five of them. They weren’t gaping, the way you imagine bystanders at an accident. They looked shrewd and knowing, like a pair of insurance investigators already on the scene. The cop who was talking to Jasper stood up and waved the car along.

“If asked, would you agree to a breath alcohol reading?”

Doug thought about this carefully. His answer to this question seemed crucial, even though he hadn’t been drinking.

“Yes,” he said finally.

Where was Jasper’s owner? Where was Jasper? They were nowhere to be seen. Their cop was measuring the skid marks behind Doug’s car with a tape measure. Doug’s cop went to the patrol car again and came back with a black object in his hand. At first Doug thought it was a breathalyzer kit, but it turned out to be an instamatic camera, which he used to take a picture of the front of the car.

“That about does it,” the cop said.

“What about the bike?” Doug said.

“Let’s see if we can’t yank her out of there.”

Together they did yank it out of there. It made a scraping, wrenching sound which for no good reason made Doug think of a filling being ripped from an open mouth with a pair of rusty pliers.

That sound: it was the worst part of the whole ordeal.

They looked down at the bike. It wasn’t mangled the way he had expected it to be. The handlebar was maybe twisted a little and the front wheel was shot but other than that the bike looked fine.

One cop opened the trunk and the other one fit it inside.

“Thanks,” he said to them as they got in the patrol car. It didn’t seem like the right thing to say.

He stood on the curb and watched them pull away. His cop lifted his fingers from the wheel in a little wave. As they drove off it occurred to Doug that he hadn’t been given the breathalyzer test.

As soon as he got home he went over to check the answering machine. He stared down at the box’s unblinking red eye, trying to decide whether he was relieved. He went into the living room, turned around, went back to the machine and turned it off.

For a while he watched TV. He didn’t let himself drink yet. Postponing was a recent policy: he would make himself wait if it seemed like maybe he was about to drink because he needed to. For some reason he thought of his ex. He sat on the couch and waited to feel something about the accident. Emotional disconnectedness, he knew, is a symptom of shock. It often happens to people following a trauma. It’s perfectly normal.

Finally, he got up and rummaged through drawers until he found his insurance brochure. It was Sunday evening, but the brochure said “24-hour customer service seven days a week” and gave a toll-free number. An automated voice led him through a cycle of choices, none of which pertained to his situation. He went in and out of submenus and ended up on the main menu again. When he refused to push a button or speak into the receiver the voice told him to hold for the next available customer service specialist. There was some music, a click, and then a different automated voice told him to call during regular business hours.

He wandered around their website for a while, not knowing where to look. Eventually he went to the SEARCH box and typed in the keywords

accident pedestrian injury coverage

then deleted

pedestrian

and replaced it with

cyclist

which he changed to

bicycle

but, just before clicking GO!, he hesitated. Finally, he added the word

accidental

He was on his second drink when the phone rang. He set the glass down and listened: seven complete rings, followed by an eighth strangled half-ring.

He decided to take the bus to work the next morning. Here it was the end of October and people were still in short sleeves. Across the sky clouds were fraying like ten-minute-old jet contrails. Wind blew bright gusts of sunlight down the street. Cars stopped and started and turned and coursed along together, the parts to some elaborate windup toy, all moving in sync and no way for anything to go wrong.

He hadn’t found what he was looking for on the website. After scrolling down a long page of print he’d realized that he was reading about cyclists’ coverage in an accident with an automobile instead of the other way around. During lunch break he sat on a bench outside and called the company again. He again refused to choose a number or to speak into the receiver when prompted, and this time got a customer service specialist named Craig who asked him a series of questions to verify his identity and then told him that information regarding coverage couldn’t be answered over the phone. Craig referred Doug to the website for more information. Doug told Craig he had tried the website. Craig said he would be happy to walk Doug through it. Doug said he wasn’t in front of a computer. Craig suggested he call back when he was.

It was already dark when he left work. The windup cars coursed along, stopping and starting, their ends lit white, their ends lit red.

He sat down in front of his chessboard. The pieces reenacted the situation after Black’s quirky and decisive pawn sacrifice at move thirteen of Kuzmin-Taimonov, Leningrad 1977. He tried to spend some time every evening moving through various lines. He had been doing this for about a year, ever since he started playing chess with Otto.

Doug had walked into his local liquor store one day and found Otto perched on a stool behind the counter. He looked vaguely reptilian. He was reading a paperback. Doug could see little chessboard squares and blocks of notation on the page. Otto didn’t look up until Doug thumped his bottle down on the counter. Then he reluctantly tented the book and rang up Doug’s order in a sort of patiently long-suffering way. Every time Doug went in Otto was either reading a chess book or staring at a little magnetic board he kept half-hidden behind the register. One day Doug leaned over, took a good look at the board and said: “Who’s winning?”

“. . .What?”

“Are you black or white?”

“I’m both,” he said. “I’m neither,” he said. “I’m studying a position.”

And then, when he saw Doug was still looking, Otto slid the board out from its hiding place for Doug to see.

After that they sometimes talked chess when Doug went in. Growing up he had been a good, if casual, player. People said he had a natural talent. When he set his bottle down Otto would slide the board from its place behind the register and make him guess the best move. If Doug picked the wrong one Otto would explain why it would be disastrous five or six or ten moves down the line. Doug realized later that Otto had been testing him. Eventually Otto started inviting Doug to his house to play on Sunday afternoons. Losing was surprisingly painful (had he ever lost as a kid?), yet he found himself returning week after week. When he asked himself why, he decided it was his pride. Or the fact that the divorce had just been finalized, and time spent at Otto’s place was time not spent alone. Besides, the evenings at home, planning his eventual victory — he educated himself on chess theory, tested strategies against a software program called “Grandmaster”, searched through edition after fat edition of Modern Chess Openings for a magic formula — it all gave him something to do in the empty apartment besides drinking and brooding over things that were no longer supposed to matter.

Now Kuzmin-Taimonov provided him with the same kind of distraction from the accident: before he knew it three hours had passed without him thinking about it once. At the same time, he had the sense that it might actually have been there in the back of his mind all along, like a chess problem you can’t solve: you’re beating Otto; somehow you fuck up again; for the next week, no matter what you’re doing, a part of you keeps trying to figure out how it happened. Two pieces intersect: there’s an unexpected outcome. The kid went straight through the intersection without even slowing down. Of course it wasn’t a chess problem. A human life was involved. But was he a monster for trying to make sense of it, for trying to reduce it to something as clean as the pattern of squares on a board? The kid went straight through. Doug hit the brakes too late. Why turn it into something more complicated than that? What was there to do now but continue with his life, which meant, for the most part, sitting alone in front of the chessboard, postponing the evening’s first drink, studying positions and imagining himself finally beating Otto?

He was riding the bus to work the next morning when it occurred to him that maybe the story he’d told the police officer wasn’t accurate. That maybe, once he saw the kid coming, he had accelerated before hitting the brakes.

An insurance agent came to his apartment. He said he had been trying to contact Doug. He looked tired. He was the sort of man who looks rumpled even when he isn’t. He had a copy of the police report. While looking down at his clipboard he read back the questions the police officer had asked. Doug repeated his answers. He learned the name of the kid he’d hit.

The kid had died, as it turned out. He hadn’t made it to the hospital.

The insurance agent said Doug appeared to be covered through the bodily injury liability clause of his policy, but he advised him not to contact the family or to answer any questions if they or their lawyer contacted him. Then he gave Doug his business card.

The dog owner had corroborated his story: the kid raced straight into the intersection without even slowing down at the red light. That story still felt true. It just didn’t feel complete. There was the part about Doug accelerating when he saw the kid. By now he was convinced he had hit the gas pedal and hit it deliberately, if that was the right word. He was pretty annoyed with Otto at the time, although he couldn’t really say whether that had anything to do with it. It was just a split-second thing. Chances are he would have hit the kid anyway.

The scraping sound when the bike was pulled out from under his car.

He stayed where he was on the couch. Postpone. Postpone.

Something seemed to be wrong with him. Why wasn’t he able to feel anything about the kid’s death? He tried different constructions: If it weren’t for me that kid would be alive today. A boy is dead because of me. My actions cost a kid his life. And finally: I killed someone. He couldn’t get the words to mean what they wanted to. They just sounded like words. Maybe he was in denial. Wasn’t denial one of the stages in coping with death? But it didn’t feel like that. It didn’t feel like anything.

And then an emotion appeared: he started to feel guilty about not feeling guilty about what he’d done.

He went into the liquor store. “I hit this kid,” he told Otto.

“What kid?”

“With my car.”

“When? Just now?”

“After our game. The kid died.”

Otto gave him a free bottle of J & B.

He walked home. It was another warm night. Leaves shushed overhead. They looked yellow, but it was just the light from the sodium lamps: they were really still as green as ever. Really nothing had changed. It was fall but it wasn’t fall. It would just go on and on like that, he realized — an endless unchanging season.

When he got back to his apartment he took the bottle out of its paper bag, set it on the kitchen table and stood there for a long time looking at it.

He woke up and lay in bed trying to remember his dreams. Sometimes he could sort of feel his way around an outline, a shape, but there would be nothing inside it; all he could be sure of was that he’d been dreaming. Other times a scene would stay with him as he lay there, and he’d think it might be significant until he examined it, and found nothing but random scraps from his daily life all strung together in a row. He kept looking for the kid, or for the kid’s bike. Then again, he thought, dreams don’t usually come at you straight like that. So he searched for some transfigured sign of the accident; but he didn’t dream of police, or traffic signals, or ambulances. He didn’t dream of insurance agents or parents standing in his doorway with silent accusing faces. He didn’t even dream of dogs.

He started driving again. He drove more slowly than usual, both hands on the wheel. He wasn’t afraid exactly. It was like he was waiting for something to happen — a revelation maybe — and he didn’t want to rush past and miss it. One day after work he went through the intersection where he hit the kid. Not because he felt compelled to return there; it was on his way and he told himself he wasn’t going to make a detour anymore just to avoid it. He stopped on red, waited until the light changed, drove slowly through. It was just an intersection. You couldn’t tell by looking that anything had ever happened there.

He hadn’t played Otto since the accident, but he still spent his evenings gazing down at Kuzmin-Taimonov, move 13. There were no revelations to be found there either. Chess, he finally decided — he was at the board late one night, a glass wavering over the squares like a piece in mid-move, his once-strict rule about mixing chess and alcohol abandoned now — chess is only revelatory when you don’t understand it. In fact, there are no secrets to the game: it’s simply incremental, the gradual accretion of details that lead you in a certain direction, sealing off choices, one after another.

He called the insurance agent and asked for the address of the kid’s parents. The agent advised Doug again not to contact them. He had seen people jeopardize their coverage that way, just opening the door wide to liability. Finally, though, he read the address out for Doug, along with the father’s name.

The place was less than a mile from his apartment. This made sense; after all, Doug and the kid had been using the same intersection. But the proximity of their homes seemed to have some kind of sinister significance. He was thinking he might even have passed the house before, driven right by the place where the kid spent his life. The block turned out to be unfamiliar, though. Southeast Gladstone was a quiet street with small run-down houses on one side and a closed warehouse on the other. The Sekowsky home was the nicest one on the block: it had a fresh coat of paint at least, and a well-tended front yard.

The house was dark when he got there. He felt disappointed, depressed even, although during the whole drive over he had been terrified that someone might actually be home and he might have to go up to the door. He sat in his car and stared at the house, as if, by looking hard enough, he could make it blink to bright life, shadow-play figures set into sudden motion behind the curtains. Nothing happened. It was the same thing the next night, except, when Doug was about to give up and leave, a car pulled into the driveway.

Raymond Sekowsky (if that’s who it was) looked about Doug’s age. He got out of an old Camry, a compact, deeply tanned man in a green work uniform. My age, Doug thought, and already a teenage son. He must have started early.

Or maybe it was just that Doug had started late. It wasn’t his idea. His wife came out of the bathroom holding the test stick and told him, “No more abortions.” So that was that: the baby was born. He’d tried to convince her he wasn’t ready, wasn’t fit for fatherhood. It didn’t matter. The baby was born. It came out pissing. Like one of those plaster cupids. The arc barely missed Doug as it was moved from between Kim’s legs to a complicated table nearby. Doug glimpsed a bluish-gray body. Over the nurse’s shoulder, he saw the face for the first time: a purple fist, clenching and unclenching around its giant wail. Very impressive, that wail. It seemed intent on convincing him that this was all really happening. Doug was convinced. The fact of his fatherhood trembled there, an arm’s length away, pissing and wailing, purple and gray, furious and incontestably real.

Four days later the baby came home with them. Doug was stunned at the way it took for granted that it belonged there, that its cries were meant to be answered. Kim gave in immediately, serene and stoical in her exhaustion. She might not have been eager to sacrifice everything for the baby, but she seemed sure that she was doing exactly what she was supposed to. Doug would stare at it sometimes, at the enormous black alien eyes — where did those come from? — and the cheeks crosshatched with the claw marks it inflicted on itself in its sleep. He would stare at his son, and suddenly feel terrified. What are you supposed to do with love like that? It wasn’t reasonable. Neither was drinking all the time, but at least he got the feeling that he was making some kind of progress, that he was fortifying himself against that terrible love. He was already a drinker, of course, but this was different. This was like work. He threw himself into it. Kim said if he loved his son he should be able to stop. Which was really unreasonable. She couldn’t understand what it was he was trying to accomplish. When she finally left, when she took his son away from him, he drank in weepy celebration. He forgave her for abandoning him. He forgave her for having the baby. By taking it away, she was only trying to undo the wrong she had done to him. All in all, he was glad they were gone. Relieved. Grateful even. About a week passed before he noticed he wasn’t feeling grateful anymore.

He hadn’t thought of his son in a long time. Neglected memories reared up, reproachful, and for a moment he completely forgot about Raymond Sekowsky. By the time he looked back, Sekowsky had nearly reached his front door.

Right away Doug noticed something strange about the man’s walk — how ordinary it was. There were no slumped shoulders, there was no sunken head. No solemn march or faltering step. Nothing like that. Doug didn’t expect him to break down there in his front yard, but shouldn’t his movements have offered a hint at least of his recent tragedy? There even seemed to be, well not quite a spring in his step, but yes, definitely a lightness, something loose-limbed and lively that animated his whole body as it carried him up the stairs to his door.

The next evening was the same, and the evening after. Between seven and seven-thirty the Camry would pull into the driveway and Sekowsky would hop out, thrusting a jaunty elbow in front of the car door and slamming it shut with a twist from the waist. There would be the same incongruous walk to his door. Once he was inside, a pause, and then, behind a curtain, a single light would come on in what must have been the living room. (The other windows remained dark; there was never any sign of another Sekowsky.)

Doug had intended to come here and face the parents, to tell them who he was and, if he had the courage, to confess his crime. He’d felt a strange thrill at the thought of confession, a thrill that only grew stronger when the insurance agent warned him not to go. He had imagined the disconsolate parents: raw, hollow-eyed, their slack faces not sad so much as baffled, the faces of people who have closed themselves around a question they don’t expect an answer to. Then he had seen Raymond Sekowsky walk to his front door. Doug tried not to hold that walk against him. People, he reminded himself, deal with tragedy in different ways, and a cheery bounce in his step did not preclude mourning going on inside where he couldn’t observe it. But the more he watched that walk from car to front door, the more obscene it started to seem, an insult to the kid’s memory, as if Sekowsky were coming home every evening in a shiny party hat.

And then there was his behavior at the shopping mall.

On Saturday afternoon Raymond Sekowsky left his house, drove to the mall, and sat for a long time on a bench in front of the LensCrafters with a bag of Pretzel Time Cinnamon Sugar Bites. At first Doug took this as possible evidence of grief, since he just sat there all by himself with a peculiar strained look on his face. But then he noticed the Forever 21 next to the LensCrafters. When teenage girls entered or left Sekowsky’s head would turn surreptitiously, his hand would freeze in the bag, and he would follow them with his eyes until they were out of sight. Then he would innocently resume munching until other teenage girls passed. Sometimes he even leaned past the fern to get a longer look.

How would the kid — why did Doug resist using his name? To keep him at arm’s length? To make him less specific and therefore less human? Or was it that calling him by his name seemed presumptuous, as if he were pretending that he knew the kid, when in fact he didn’t know him as anything other than a flash of moving color followed by a shape twitching on the street? Anyway, how would the kid feel if he were here to see that, instead of staying home and grieving and possibly drinking too much, his father was spending his Saturday afternoon eating Cinnamon Sugar Bites and leering at underage girls? But — Doug would have explained to the kid — this behavior could, if you thought about it, simply indicate a need to escape from his feelings. Lonely people often went to public places. Maybe he found solace in the parade of young lives marching past. Some of these girls must have been the kid’s age. Some of them might even have known him. Maybe Sekowsky was considering this as he watched the girls. Or maybe he was imagining his son, alive, sitting there watching the girls in his place. The point was, Doug and the kid couldn’t know with certainty what was going through the father’s mind. So what would have looked like leering to the kid, if he were there with Doug, peeking from behind the wedding card rack of the Hallmark’s, might not have been leering at all.

But there would have been no way to explain to the kid’s satisfaction the incident the next afternoon. Sekowsky came out of his house with a bag of garden wood chips, walked onto his lawn, and started adding chips to the ones already there. Doug could see his lips puckering as he poured them from a hole in the bag’s corner. His lips puckered, and even though Doug was too far away to hear, he knew, as the man scattered chips across the speckled, sunlit length of his garden, puckering and scattering and repuckering and sometimes squatting to sculpt the growing mounds, he knew that Raymond Sekowsky was whistling.

Sekowsky left his house a little after noon. Doug watched him lock his front door, swing the keys around their ring with a flourish and drop them in his pocket.

Afterwards they claimed premeditation. A plan. It wasn’t true, not in the sense that they meant it. If anything, it was because he couldn’t decide what to do that he had come. He was hoping a confrontation might force some kind of decision out of him.

Later, he often regretted not being able to say he was drunk when it happened. It would have made everything easier to explain. But the fact was he had taken just one gulp from his flask, and that was more of a token confidence-builder than anything else. The blood alcohol content measured during the arrest — this time they actually gave him the breathalyzer test — was a result of all the drinking he did while he waited in the car for the police to arrive.

Doug had been about to get out of his car and go knock on the door when it opened and Sekowsky came out. So instead Doug sat, damp and jittery, hand on the car door latch, unable to persuade himself to move, while Sekowsky crossed the lawn and got into his own car.

Allowing himself one drink, he realized, had been a mistake. He should have allowed himself two, or three, or as many as it took to be able to do something he couldn’t take back. He’d imagined himself getting out and confronting Raymond Sekowsky there at his front door. Confronting him with what? Insufficient mourning? No, not just that: with being a bad father. Yes, that was it: bad father. Angry words, back and forth. He would tackle Sekowsky. Sekowsky would tackle him. Either way, it wouldn’t matter. A tussle on the lawn. One of them beaten bloody. But he had never been violent, drunk or otherwise. He didn’t seem to have it in him.

So then why had he hit the gas pedal when the kid raced in front of him?

He kept asking himself this as Sekowsky pulled out of his driveway and drove down the street. He already knew where they were going. Sure enough, ten minutes later they turned into the mall’s giant parking lot. The lot was divided into sections marked with animal signs, big colored signs on posts to help you remember where you’d parked your car. They were in the Giraffe section.

Sekowsky managed to find a space right away. Doug circled. There was no hurry. He had a pretty good idea where Sekowsky was going to end up. He saw the scene as if he were spying on someone: a man stands at a wedding card rack, fraudulently fingering a lacy card while he peeks through the glass. He didn’t recognize himself in that scene. That man wasn’t him. It was clear enough what he should do: leave the parking lot and go home. But leaving felt like a surrender. Like giving up on ever figuring out what killing the kid had meant. He circled the Giraffe section, thinking he would park and thinking he would leave and doing neither.

Ahead, down near the end of the row, Raymond Sekowsky stepped out from behind a pickup.

He felt dizzy, as if the circles he’d been making in the car had been getting smaller and smaller. Then panic, and with it a hatred for himself more vivid than anything he’d ever felt before.

Raymond Sekowsky was walking, his back to Doug, in the direction of the mall. And his walk, as he went, was — what else? — buoyant and carefree.

Doug hit the gas and turned the steering wheel slightly, altering his trajectory.

In those few seconds before he changed his mind and slammed on the brakes, he understood something. He knew it as the car hurtled forward, his head tingling crazy warning: he had never done this before. This experience was new. He hadn’t hit the kid on purpose after all. There was no time for him then to consider why he’d needed to blame himself, no time to locate and name the guilt he’d been secretly hoarding since long before the accident. He only knew this: he wasn’t a killer. Foot on the pedal, he rushed toward a collision not yet too late to stop, paralyzed with disappointment and something like joy. He wasn’t a killer. He was innocent.

Twitter Is Not Letting The Washington Post Get Away with Mocking Jane Austen

Twitter exploded in laughter and scoffs this weekend after The Washington Post chose to celebrate Jane Austen with a headline that seemed bemused at her perpetual singleness — even though she wrote about marriage.

What? A writer just… making things up? In fiction???

Mind you, “marriage plot” books aren’t even about marriage — they’re about dating. But that’s beside the point. The point is, it’s pretty common for fiction written by women to be treated as if it must be memoir — and then dismissed as unserious because it’s not an epic triumph of the imagination. We saw it most recently with the viral short story “Cat Person,” but even Jane Austen isn’t immune. Two hundred years after the author’s death, she’s still being called a “spinster” in The Washington Post — and people are still expressing shock that she somehow managed to write about marriage without having lived through it. (The article also says Virginia Woolf was “frigid with men”! It’s a triumph on many levels.)

But 2017 has one thing over 1817: Twitter does not suffer such foolishness gladly.

Even Neil Gaiman weighed in, in a weird oblique third-person way:

But this tweet got the last word, or whatever that is:

We are not the authors of The Giving Tree, but we’re still enjoying the shade.

The Power of Reading in the Face of Apocalypse

Dear Reader,

If there has ever been a year to remind us why literature matters, 2017 has been it. In the face of a dizzying and often depressing news cycle, reading has remained a reliable companion — whether for solace, inspiration, information, motivation, or escape. No wonder, perhaps, that one of the last viral hits of the year was a short story published in The New Yorker, written by an emerging woman writer, Kristen Roupenian. Whatever you thought of “Cat Person” (I loved it), its reception makes clear that it’s not just the news that obsesses us; we crave ways to express anguish and frustration, to linger in moments of small triumph, and to hold contradictory ideas in one place. In other words, we crave literature.

From The Twilight Zone Ep. 8, “Time Enough at Last”

2017 was also a year in which the president repeatedly attacked the free press, another vindictive billionaire brought down a beloved news outlet, and leaders of venerated literary institutions resigned amidst accusations of sexual misconduct. At a time when the book and media worlds seem to be crumbling around us, Electric Literature has worked hard to bring you intelligent literary criticism that is bold, personal, and unpretentious, and to publish fiction that is urgent and relevant. With no benefactor, corporation, or institution backing us, sometimes it seems magical that we’ve survived this long. But really, our independence is why we’ve survived. That doesn’t mean the past eight years have been easy; we regularly face budget deficits, uncertain funding, and sudden shifts in circumstance, and we do it all without a safety net.

So if you believe in what we do — if you believe that forward-thinking organizations like Electric Literature should exist to make literature relevant, exciting, and inclusive — then please make a donation today. We promise we’ll put it to good use.

Thank you for your support, and best wishes for a happy holiday!

Yours,

Halimah Marcus
Executive Director, Electric Literature