On the Coming Extinction of the Great White Male

“On The Coming Extinction Of The Great White Male”

by Marvin Shackelford

It’s early. For me, anyway, and the raccoons are up and moving in the afternoon, hidden from daylight in the attic of the house. They usually keep still except at night, so we only hear them in the wee hours of the morning when we’ve gotten off work. But now they’re doing a matinee. I roll over in bed, clutch a pillow to my face. Dirty snowlight slips past the blinds. I’ve tried different things. Nailed sheet metal onto the porch posts, thinking once they came out of their hole above the porch roof and hit the ground they wouldn’t be able to claw back up. They got right back in. We put out the cage traps, but they took the food and disappeared again, ghostly. I’ve been thinking about buying a gun.

The house is empty. Dave’s taken my girlfriend and they’ve gone to class. They’re the real problem, him and Heather thinking the raccoons are cute, talking about they just want shelter for winter and they ain’t hurting anything. It’s a load of shit, though, because they’re tearing up the insides of the house.

“Your uncle owns this place,” I keep telling Dave. He doesn’t care, says it okay.

I go to the kitchen and dig around in the pantry. We’ve got all sorts of shit shoved in there — three shelves of canned food, a rotary telephone, two plungers, jumper cables, dead double-A batteries, a half-empty pack of diapers. A phone book from Tijuana, Mexico, and a bag of glow-in-the-dark dress sequins. I shove and shift the bottles and cans around until I find the one I want — big white plastic jug with a green cap. Antifreeze. I slam the bottle on the counter, grab a bunch of tuna cans from the cabinet and stack them beside the antifreeze. I figure the message ought to be clear.

“Would you rather,” Dave asks me, as our game goes, “be a shitty husband and father or a shitty leader, Jack?”

“Leader of what?”

“Think Bush,” he says, as though that explains it all.

Breath fogs in front of his face. I think on it a while. Another slab of ham slides to me along the conveyor belt, and I use the rounded shaver hanging from its cord along the power and support pipelines above us to hack at the strips and flabs of white fat wrapped around it. Then it drifts on down the line to my white-suited coworkers who do the delicate cutting on the meat.

“Bad leader,” I say.

“Really?”

“Yeah. You wouldn’t?”

“I don’t know.” He shrugs his shoulders and hacks at a ham. “We have a responsibility to the world. You know?”

“I guess,” I tell him. Then I think a minute and wonder what good a shitty dad does the world. I stop and stare at Dave until he looks up.

“You’re so full of shit,” I say.

“You can’t be serious,” Dave says to me. We’ve showered in the plant locker room and headed to the bar, the North-South, sitting by the railroad tracks at the grain elevators on the south end of town. He drinks a whiskey mixed with coke, then starts into the pitcher of beer I bought.

“I’m just saying. It’d be nice to be in Nashville again.”

“Fucking rednecks.” He makes quotes with his fingers and adds, “Country.”

“There’s rednecks here.” I take a look up and down the bar, over at the pool tables where guys in Monsanto jackets, corn guys, are drinking beer and holding cue sticks. I frown at Dave. “Everything’s so damn flat here. I want to see a Confederate flag or some shit again, you know?”

“Jesus fucking Christ,” Dave says, and he says it loud, the bartender looking up from her magazine to put on a cross look. “That fucking racist shit.”

“It ain’t racist,” I say. “And what — you think nobody up here ever gave a black man shit? You ever talked to these people?”

“Not racist? Not racist?” Dave screams, not answering the pertinent question. He reels off his stool and shoves me in the back. “Are you out of your fucking mind?”

I drop my beer, and it clanks over the bar and crashes to the floor, out of sight. The bartender yells something real shrill, and I turn around and punch Dave, right in the mouth, and he near flips over on his back. Then we’re in a tangle, twisting around and aiming fists at each other’s heads until the Monsanto guys come over and peel us apart and shove us out the door, into the snow. We sit there a few minutes, asses thawing snow on the curb, until I can finally look over at Dave again. He’s lighting a cigarette.

“Go home?” I ask him.

“I guess,” he says, and we stumble to his car.

This is pretty much what we do. We get up in the afternoon and go into the hog processing plant where we work on the same line, shaving chunks of white fat and gristle off hams. We put on the stained but washed white over-clothes the company provides, we clock in, and we hack up pork. Sometimes one of us is dragged away for another job, things like slicing the knuckles off pig legs or dragging racks of ribs through pepper bins for curing. The pepper’s what’s really bad. They like putting me on those crews, for some reason, and I get to the lockers covered in seasoning, itching, and having to take a cold shower to get the stuff off. If you turn the hot on too quick the pepper heats up, burns the skin and leaves a red rash behind.

Then we go to the bar, drink ourselves under the table, sometimes fight over stupid shit. Dave is still in college. That’s how we both got off up here. He hasn’t dropped out yet, goes to classes a couple days a week while I stay home and sleep or play guitar or fool around with Heather, who’s still in college, too. She catches rides with Dave, and I wonder how long we’ve got left in this particular life. He talks about switching to third shift, the shipping crew, and running a forklift. He wants to work for the college paper in the evenings. I sometimes talk about moving to first shift and going to kill floor, the other side of the plant where they bring the hogs in smelling like shit and still squealing before they kill them, string the bodies up and dismember them and clean the unwanted parts out so they can send the good pieces on to the cold floor.

Our lockers are up a set of stairs beside the kill floor, and every time I go to change clothes or grab my lunch I see down the hall and into that end of the building. The sounds are mechanical and wrenching, the smell is hot and the air’s thick. Now and then one of the kill workers will step through the double doors, amping up those sounds for that moment and marching down the hall in blue over-clothes. The blue keeps only the shape of stains, big dark continents that could be sweat or blood or anything at all, and the doors swing shut behind whoever’s coming through and I’m a little scared.

Heather knows about my plans to move to the kill floor, and I’ve also made the mistake of telling her how it’s kind of terrifying. She keeps saying to me, every time it comes up, “You know you’re too much of a pussy.”

“And you’re a complete and utter cunt,” I tell her.

“Fuck you,” she says, and she climbs off the couch and walks to the kitchen. She’s disturbed by my use of that word, cunt, frowning and acting like she’s on the verge of tears. I watch her, try to figure out what’s going on in either one of our heads.

“Really, though,” she says later, snuggled up or head in my lap or, when it’s real bad, from a chair on the other side of the room. “I don’t see how you can kill things.

“It’s five bucks more an hour,” I tell her.

“But it’s just not right,” Heather says, and I’m forced to remember that we met, just a year ago, at an animal-rights group meeting at the college, before I had stopped going, and my pickup line had been something about saving the whales over coffee.

“You want a sandwich?” I ask.

“What you have to do is poison them little fuckers,” Ted Hennenfent says after I describe the situation to him. He works on the kill floor and makes five dollars more an hour, and for a second I’m not sure whether he’s talking about Dave and Heather or the raccoons. He takes another drag off the cigarette I gave him and stares at me over his bushy gray mustache. He’s waiting on his wife to pick him up, and I’m waiting on Dave to pull around. The plant reeks of pig and rolls black smoke into the dark behind us.

“Thought about it,” I say. “But they’d get pissed.”

“Now, listen, I’m not saying do nothing dirty. Just mix a little something into some meat and leave it out all night and — you don’t have dogs or nothing do you?”

“Uh-uh.”

“Right, so leave it out in the yard, they’ll come down, and bam.” He slaps his big red hands together. “Problem solved.”

The wind picks up. I light a cigarette and hand another to Ted.

“Trust me,” he says. “Coons are just another kind of rat.”

“You’re still going to put a word in for me, right?” I ask him after a minute.

“What, kill floor?” he says. I nod, and he shrugs. “Won’t do any good. You don’t speak Spanish, do you? Well, they want everybody on kill speaking it now. I ever told you how they won’t promote me to floor supervisor because I don’t speak Spanish?”

“Yeah,” I say, though I know he’s aiming to tell it again.

“Well, you know all the Mexicans they give jobs here, so many of them — ”

A horn blows and cuts him off. We look over and Ted’s wife’s at the curb, hanging her arm out the window and waving. Her hair’s bleached a horrible blonde and her face is streaked red from the cold, but Ted’s eyes light up when he sees her.

“See you later, Jack,” he says. “And yeah. Just poison those blame things and be done with it.”

“We’re working on this layout,” Heather tells me. “Isn’t it awesome?”

She’s gotten a job as opinions editor at the school newspaper, a position I get the impression no one else wanted. Dave has become her right-hand man, writing stories and assisting with all the decisions about her two broad pages of newsprint. They’ve turned our living room into their work space, covering the coffee table and floor with paper and pictures and junk. While he’s out of the room, Heather tells me all about it.

“See, I want to highlight all the positive things about this candidate. He visited Galesburg and we got a lot of good stories from it.”

“That’s kind of unprofessional, isn’t it?”

“What do you mean by that?” Her skinny shoulders scrunch up in her sweatshirt.

“Aren’t you supposed to tell the news and just the news? Not try to tell people what to think?”

“Well,” she huffs, picking herself up from the couch, “this is the opinion page. And we’re just telling the truth, anyway.”

“Truth!” Dave shouts, stepping back into the living room.

“Hell yes, partner.” Heather passes him into the kitchen. They high-five on the way by and then, no shit, swing on down and slap each other on the ass, like they’re playing football. I sit still, a little disturbed, and Dave drops beside me where she’d been.

“Isn’t this awesome?” he wants to know.

“We can’t move you,” the HR guy says. I’d gone through the channels, made an appointment and filed a request, but just like that, no preamble, he lets me know there’s no going anywhere. He sits at his desk, white shirt and a tie, but the room still smells like pig. That rubbery odor that seems like it must have something to do with hooves. It’s all over his family photos and his daughter, barely smiling out of her school pictures.

“We just don’t need anyone there right now, and you’re already trained on cold, anyway,” he says, looking up from his papers. He’s a dark brown color, like he’s been out in the sun, and he keeps wiping at the pencil-thin black mustache curling over his lip. “We can still move you to morning shift if you want, though.”

“Nah.” I sit and sharpen my working knife while he talks. “That’s okay.”

“Sorry, Jack. Maybe in a few months.”

I look him up and down, his ample forehead and combed-over hair. Thin shoulders. He kind of looks like a coke bottle that’s right on the verge of shaking itself up and spewing all over the room.

“Do you speak Spanish?” I ask. He just cocks his head at me.

We celebrate with drinking.

“Third shift!” Dave yells, and him and Heather slam their glasses together.

“Third shift,” she yells.

“Third shift,” I say, and they bump their glasses into mine. “Congrats.”

Dave’ll be driving a forklift between midnight and six, now, working for the paper in the afternoons. They gave him a desk, a phone extension, and a computer that doubles for laying out the ads. But it’s awesome. I take a look around the North-South. The Monsanto guys are playing pool, a little drunker than usual and laughing too much. They’re rednecks, and I feel like I could walk up and start a conversation with them. Something about football and the best time to start planting a crop. One guy smooths out his mustache and rests a hand on his buddy’s forearm. The green sleeve of the guy’s jacket sways his pool cue back and forth. Beside me, at the bar, Heather props her head on Dave’s shoulder while she tells the bartender, who pretty obviously don’t give a shit, how stealing beer from a bar is a felony but stealing it from a gas station is just a misdemeanor and how that just ain’t right.

“Fucking right,” Dave says.

“I’m not all that sure what I’m looking at,” I say. Everything looks funny from where I’m sitting. Nobody says a word, though, to try and help me make sense of it

“Would you rather,” Dave says, “lose your ability to speak or go deaf?”

“Speak,” I say.

“But how would you communicate?” he wants to know.

“I guess I’d write it down.”

“But that’d be hard,” Dave says. “Not being able to tell people what you think, never having any conversations, shit. I couldn’t do it.”

“I’d rather not hear,” Heather says. “I’d just use sign language.”

“They have whole towns for sign language now, you know,” he tells her.

They sit on the couch, leaning over their newspaper stuff, knees glued together while they move things around. I remember all of a sudden that semester I’d spent in college, sitting in Heather’s dorm room and trying to explain math to her. The x is always the same as what’s on the other side, I kept telling her, pointing to both ends of the equals sign and shrugging. She started crying and went to a math tutor at the library.

“I’m tired of this,” I tell them. I go to the kitchen. The antifreeze still sits on the counter, staring at me, but the tuna cans have started disappearing. It’s gone from six to four, and I wonder how much it’d take to kill a raccoon family. It’s probably a moot point. I hear them at night, skittering out of the ceiling and into the yard, vanishing in the dark if I turn the porch light on. But I don’t know if I can really do it.

I cut the top out of one of the cans and drain the water, start picking the meat up and eating it with my fingers. It’s too dry. Dave and Heather whisper in the other room. I kind of imagine they’re talking about me, but I don’t know. They stay up late now, even after I’ve turned in, and Heather sleeps on the couch instead of coming to bed. I’m not stupid. I know where it’s headed, my room to his, but I ain’t clear at all on how we’re supposed to make this sort of transition without things getting rough. They get louder in the living room, say how that candidate of theirs has got a plan, for the future, and peace, the only vague words they ever say about him. I wonder if they just somehow don’t know they’re doing it. Not even these two could expect to brush this off so easy.

“Jack,” Ted says. He pauses, drops the butt of his cigarette in the dirty snow piled up on the concrete, and lights another. He’s wearing a cowboy hat and a clean shirt — date night with the old lady, he told me. They’re making a late trip to the bars over in Galesburg. “How are you coming with them coons?”

“Haven’t done anything, yet.” I shuffle my feet and kick at a clump of ice. “I was thinking maybe some antifreeze.”

“Ooh.” He nods in appreciation. “Good choice. Though a lot of the time now they put stuff in antifreeze that animals won’t like the taste of. So many people poisoning the neighbor’s dog and all. Have to watch out what kind you get.”

“Well,” I tell him. “I’m really kind of hoping they’ll move on on their own.”

“You can forget that. Thing about a coon is they’re just like a . . .” Ted snorts and takes a look around before leaning in and giving me a wink. “Coon’s just like a coon. Once they’re in all you can do is run the little fuckers off.”

“I guess.”

“No guessing to it. You have to get it taken care of.”

His wife pulls up and blows the horn. She’s all dolled up, bright yellow hair curled and red shoulders showing above the steering wheel. She waves to Ted, and Dave pulls his car in behind her. He taps on the horn for me.

“Gonna get my own self something taken care of right now,” Ted says. He punches me in the arm and stands there a moment longer, his big hat silhouetted beneath the security lamps, and he looks like close to a million bucks.

We’re doing things an awful lot like living — Dave and my girlfriend get up in the morning and go to college, learn how to save the world, then me and him go to work in the afternoon. He switches to third in a couple weeks, so they take him off the line nearly every night. They’ve mostly got him peppering ribs. I stand on the line next to a blonde woman with chunky hips. She frowns from behind her goggles, thinks I leave too much fat for her to cut off. The cold’s what’s bad, really, the big refrigerated warehouse. I’ve started keeping a runny nose, have to wipe at it with my shoulder because my sleeves are too dirty around the wrists, smudged with blood and gristle. I wouldn’t have thought it possible, but that ground-up pig smell’s growing thicker.

Then I go to the North-South and drink, eyeing the corn guys at the pool tables and telling the bartender, who you can tell don’t give a shit, how they don’t promote nobody that don’t speak Spanish. Can’t even get on kill floor and make an extra five dollars, I say, pretending she knows enough about it to understand and connect the two things. She shrugs behind her magazine. The corn guys sway around their cue sticks. When I get in the truck and go home Dave’s already there, bent over the coffee table and straightening up articles with Heather. He tells her what he still ought to write, what needs to be talked about. She smiles at him and tells me hey when I walk in the door. I go to bed too wide-awake to sleep and think about killing pigs. I’ve worked there near three years and still don’t know exactly how they do it, just piecing it together in my head from things I’ve heard and what my uncle used to say about killing hogs when he was growing up. You hang them up, cut their throats, and let them drain.

I eat the last can of tuna fish, find another can empty at the edge of the porch when I go out. Takes me a minute, but then it clicks — they’ve actually been feeding the raccoons like blame pets. I add tuna to our grocery list on the fridge and leave the antifreeze sitting out. I can’t think of anything to replace it. Seems like I’ve seen it kill dogs and coyotes, other things. Comes down to it and they might just eat it right up.

“I think we ought to have a date night,” I say.

“A date night?” Heather sinks back in the couch, stares at all her shit on the table. I drop beside her, throw an arm over her shoulder and tug at her hair. She’d probably look good with curls. When I don’t leave her be she tells me, “I’ve still got a lot to do.”

“Don’t you think it’d be fun? Get out for a night, let everything slide?” I kiss her on the shoulder. “Just you and me out in the world.”

“Out in the world,” she repeats. “I don’t know.”

I put on khakis and a polo shirt, trim my beard up and spray on some cologne I’ve had sitting around since Christmas. I slick my hair down and stand at the bathroom mirror a minute, decide I look pretty good and Heather ought to be happy with it. She shows up an hour late, riding in the passenger seat of Dave’s car. They’ve been working at the office on Saturday morning, and she comes into the house in a pair of overalls, hair frizzing at the sides of her head. Says she’s ready to go. We drive to Galesburg in my truck and eat at Applebee’s. I order steak and she gets a salad, and I find myself staring at Heather’s fingers while she picks at the food with her fork.

“Not any good?” I ask, but she doesn’t say. After dinner we go to this bar Ted always talks about, where I imagine him and his wife get on the floor and dance, her hair up and his hands on her hips while they slide along, but Heather won’t have it.

“I don’t want to dance,” she tells me, and I guess I should’ve seen it coming. We play a game of pool without talking while the couples line-dance at the center of the room, and then it’s just me playing. I shoot the balls off the table in order, one through fifteen, and she sits on a stool, staring over my head at the dancers, and I ask her again if she’s sure she don’t want to dance.

“Fuck no.” She shakes her head. “Rednecks.”

I drop my cue on the table. It rattles, just a second, louder than the music.

“What the fuck is wrong with you?” I say. Heather turns her chin down, finally takes me in with her big striped eyes. It’s the first time, I’m pretty sure, she’s really seen me in a while.

“I think we should take some time off,” she says. She bites down on her lip and stares at the floor between us, and I stare at her a minute. There’s a drunken crash and laughter behind us on the dance floor.

“Okay.” I pick the cue up and go back to knocking the balls into pockets. Each number higher is a step closer to something. I don’t know what, just something. Probably awful.

“Okay,” I tell her.

I pull the truck to the door of the plant and see Dave standing there talking to Ted. The big man’s laughing and smoking a cigarette, holding on to what looks like an oversized black suitcase. He rests it on the ground, holding steady with his elbow. Dave shrugs at whatever Ted’s saying, and when he sees me walks over and slides in the cab.

“Jack,” Ted yells. He tosses his smoke into the snow and carries his load over. I put the truck out of gear and roll down the window.

“No, drive,” Dave says.

“I was just telling your buddy here, the coon problem’s over,” Ted tells me. He swings the case up and over the rail of the truck and sets it in the bed. I hear the snow crunch and pack down beneath it. “Here’s you a rifle.”

“What?”

“Yeah,” Ted says. “I just bought a new one, too, so keep it long as you need it.”

“Okay. Thanks, Ted.”

“No problem.” He lights another cigarette, leans on the doorframe and smiles at us. “Yeah, figured this was the way to get it done. Got a scope on it and everything.”

“Well.” I try to sort it in my head. I’ve received my weapon, just been turned into a hunter. Ted, I guess, is my lady in the lake. We’re way past poison. I try to remember the last time I shot a gun. Scouts, maybe.

“I was telling Dave, don’t want you guys to have to burn your own house down to get rid of some coons.” He chuckles. “Yeah, all kinds of coons, you can burn them out if you have to. Had some of the one kind, whole family of them, move in over at Avon, back a few years ago. Didn’t anything else work.”

“The fuck,” Dave says. “Just what is that supposed to mean?”

Ted stares in the cab for a moment, looking between the two of us until the smile slides off his face. He shrugs.

“You know. Varmints are varmints.”

I don’t turn my head but can feel Dave’s face turning red. I put the truck in gear.

“Well, thanks a lot, Ted,” I tell him.

“You bet.” He slaps the side of the truck, and I pull us away from curb.

“What the fuck,” Dave says.

“Don’t shoot yourself in the foot,” Ted hollers after us.

“Last day shaving. Congratulations,” I tell Dave. I start to take the turn for the bar, but he waves me on, wants me to stay on the bypass.

“Just take me home,” he says.

“Are you kidding? We have to celebrate. This is the last time we’ll ever get off work together.”

“No,” he says and shifts in the seat. “That fucking Ted Hennenfent.”

“You’re gonna skip out because of something Ted said? Come on, man. You know he’s full of shit.”

“Some things you just don’t say.” He watches the dark alongside the highway.

“There’s nothing you can’t say,” I tell him. We pass out of town and into empty cornfields. “Just things you don’t do. And honestly, I don’t think he knows better.”

“Doesn’t know better?” Dave stares at me while I get a cigarette lit. The red flame of my lighter makes an angry shadow of his face. “If I was drunk, right now, I’d punch you in your fucking head.”

“Really,” I say, looking over at him. “Better be glad you ain’t drunk.”

“And, honestly, we have too much to do on the pages.”

“Well,” I say.

“So we’re taking time off,” I tell the bartender. I can tell she doesn’t give a shit, but I sit at the bar drinking whiskey anyway. She closes her magazine, though, and lays it on the counter. She sighs real loud, then stares at me a minute. I look back at her, thinking I finally must’ve gotten through to her. This will be the moment of truth.

“You’re just all messed up, aren’t you?” she asks me. She grinds her lips into a sad little smile and shakes her head. “Shouldn’t you be talking to your little friend about all this? Where’s he been, lately?”

I settle back and drain my glass. The ice chatters against my teeth, and I lay money on the bar for another.

“That’s probably not a real good plan at the moment,” I tell her.

“Well,” she says.

While she’s pouring me more whiskey, a long and terrible process, everything in my head skitters around. Thoughts start climbing down my forehead, and I stare at the Monsanto guys. The one I saw touching the other guy’s arm is touching it again, he’s leaned over whispering something to his buddy, and right there seems like something all summed up for me. As soon as the bartender shoves the fresh glass into my hand I walk over to them. They see me coming, and the one guy reclaims his hand.

“How’s the corn looking?” I ask. Their shoulders shrug and they both mumble something pretty noncommittal.

“Listen, I get it,” I say to the two of them. They stare at me a minute, and the rest of their buddies lean up from the pool tables to watch.

“Excuse me?” the one doing the touching asks.

“I get it. I know what’s going on.” I hold my hand out to shake, but nobody takes it. “It’s okay. Really.”

“I think you’re drunk,” the other guy says.

“And y’all are gay,” I say, spilling whiskey everywhere. “It’s okay.”

I throw my arms around their necks and hug and start to tell them, what you want to do is just fine even if I don’t like it, or maybe, you are who you are, but the whole bunch of them’s jumped on me. They punch me in the head a lot, and then the body shots pick up, and when they’ve got me on the floor it’s a lot of indiscriminate kicking. But I’ve made my point. It’s okay.

“Don’t come back,” the bartender screams while they’re dragging me to the door, but I’m not worried about finding a new bar. It’s okay, and even before they drop me on the snow-covered asphalt and kick my ribs in a little more, I realize it’s the only and best way this could have gone.

I coast up to the house and put the truck out of gear, sitting there a minute with the headlights shining through the windows. There’s a knot in my belly that I’m pretty sure is the whole world coming together to just plain be all right. Then I see the living room’s empty, but Dave’s car’s sitting right there in the drive. That knot’s something a little different, my stomach tells me. Dave steps out of his bedroom buttoning his shirt up about the same time I step into the living room. He freezes.

“Hey. What do you know?”

He shrugs and stands there, works the buttons all the way up to his neck. Then his eyes finally find my face.

“What the hell happened to you?”

“Nothing,” I tell him. “It’s okay.”

Heather steps out Dave’s door, shirt half over her head. She works it down, giggling a little, then she sees me. She skitters to a stop, gets quiet, and I drop into a chair. My eye’s starting to swell, and my lip’s been dripping blood and smudging the dark blue of my jacket, making an awkward new logo of some kind. I smile, and the two of them stand there, keeping carefully apart from each other and watching me.

“Dude,” Dave says.

“It’s okay. Really. But let me ask you something. Really think about it, now.”

“Okay,” he says, moving to the couch and watching me from across their newspaper stuff on the coffee table. The pile’s getting higher and higher, more stories and different new pictures, and I’m pretty sure it’s just gonna keep growing until it blocks our view of onne other. Heather stands out between us, arms wrapped around herself.

“Would you rather,” I ask him, as the game goes, “save the world or just save yourself?”

He doesn’t wait two seconds before answering, “Save the world.”

“Really,” I say, lurching up and swaying a second. I nearly fall over and Dave jumps up and grabs my arm, tries to steady me. He starts asking what the hell happened. I get my feet under me good, finally, and punch him in the face. Heather shrieks. She doesn’t know this is just something we do. Dave doesn’t go down, but he doesn’t hit back, either, stunned. I hit him a few more times and he just takes it, until I finally hit good enough to knock him backward. He hits the floor and bumps the table, rocking their newspaper stuff and sending a few stacks of the jumble right over the edge. I look to my time-off girlfriend. She’s crying and watching with too-big eyes.

“It’s okay,” I tell her. I look at Dave, sprawled in our living room floor. “It’s just you have to take care of yourself first. That’s the only way you get shit done.”

I puke by the truck and figure the blood that’s mixed in isn’t serious. The wind picks up at my back, feels like another snow’s blowing in, and I search overhead for stars. There aren’t any, just clouds hanging a little low but split here and there by moonlight. I tell the sky it’s okay, and it answers back. A gap opens up, and the moon winks down at me. Single most beautiful thing I’ve ever seen.

“Right on,” I say.

The clouds seal back up and my eyes drift, follow the trees in the yard, catch on the metal frame of the truck. I follow the line of the hood, over the cab and down into the bed. Ted’s rifle’s still there. I drag the heavy case onto the tailgate and open it up. Inside, the gun lays carefully pressed into felt, shined smooth and gleaming in the bare light. A single flake of snow drifts onto the pommel and melts. I pick the thing up, cradle it in my arms and sit to wait. Seems like I’ve been skirting something huge forever, but now it’s caught up. I’m stuck moving on.

After a while they come out of the house carrying a bunch of bags. They stand and watch me a minute, then start piling into his car. Heather climbs in without saying anything, but Dave waits at the driver’s door a moment. We lock eyes and he opens his mouth. I shake my head. He looks sad and sorry before sliding behind the wheel. They back out, turn around and head toward town, disappearing into the flat roll of the land.

I carry the rifle inside and kill all the lights, turn the heat down so it won’t click on, make noise. I raise the living room window and knock out the screen, push their newspaper mess out of the way and use the back of the couch for a support. The light slipping through the clouds makes the snow on the ground, in the trees, reflect a faint white. The world glows. I settle in the cold draft and wait. There’s the hum of something electric, outline of an old swing set beneath the trees, the gray rock of our snow-covered birdbath. It doesn’t take long. I hear their claws work. They rattle above, skitter to the edge of the house and come down. A moment later three raccoons hop around the edge of the yard, up to the porch, roaming and looking for food, more handouts. One of them’s half the size of the others, a baby, and it scuttles into the middle of the yard, stands up and turns its head all around. His fat gray body bows out over his back legs. I listen to them chitter to one another, like a family of cartoon squirrels. They’re so blame funny and innocent-looking.

But I can’t help it.

I grip the rifle tight, have to aim with my left eye because the right’s swollen shut, and squeeze the trigger. The shot blows up the air and sets my ears to ringing like I just went deaf. A puff of snow kicks twenty yards behind the raccoons. They raise and hunker themselves, sniff and peer, trying to figure out what’s going on. I fire again, over and over, unable to connect. They only stay still a moment before they scatter and dodge. I hit one just about on accident, its back end spinning. The baby. He turns a circle and hobbles to our big leafless maple tree and climbs. The big ones slip out of sight and I pull the gun back through the window, its smoky discharge thick.

I push off the sofa, trying to hurry. My body’s starting to ache and get stiff from the beating. Doesn’t want to move. I step out the front door, and everything’s quiet beneath the leftover buzz of gunfire in my ears. The snow comes up over my ankles, drifting deeper at the center of the yard. A thin, dark trail of blood runs to the maple. I follow it, stand at the base of the tree and search its branches until I find the wounded raccoon. He sits tight on a limb and clutches the trunk. I feel like I might get sick, this far down a road it feels like I’ve been traveling an awful long time. I catch the glint of his eyes and lift the rifle to put him in the sights. This is the part that seems hardest, the big step that really makes things happen. Puts the past and everything still coming on separate sides and changes it all for good.

9 Stories About Different Kinds of Prisons

Whether by a physical place, an emotional cycle, or an unbreakable habit, there are lots of ways to find yourself trapped. At one point or another, many of us have been stuck in a bad relationship, felt confined by circumstances, or, perhaps most dangerous of all, we’ve hidden, thinking ourselves happy, in a prison of our own building. Reflecting on these experiences and reading stories about them means considering how one becomes imprisoned: Were poor choices made? Is there something we are denying or lying to ourselves about? Was, simply, a crime committed? And of course, is there a way out?

Usually, it’s not exactly pleasant to ask ourselves those questions, but fiction is a great mediator of introspection. From the Recommended Reading archives, we’ve released 9 stories by the likes of Angela Carter, Brian Evenson, and Mai Nardone that explore the dusty corners of all sorts of prisons: sexuality, gender, bad jobs, regret, and of course, literal exile.

For just $5 a month, members of Electric Literature get access to the complete Recommended Reading archives of over 290 stories — and year-round open submissions. Membership is tax-deductible, helps us pay writers, and keeps all of our new content free. So if you like what you’ve read, please join today!

“X” by Brian Evenson, recommended by Tor

Excerpted from ‘The Warren’

The Warren tells the story of a person named X — or maybe not a person, because what is a person, anyway? — trapped, alone, on a distant planet after a failed expedition. A quest for escape ensues, but when X realizes he has become stuck as a repository for souls without bodies, the story moves beyond mere survival to explore the confines of mortality. In this excerpt, we find X questioning the monitor about the history of the warren.

“The Orchids” by Noemi Jaffe, recommended by PEN America’s Glossolalia

Following the failed Hungarian Uprising in 1956, Jaffe’s narrator Írisz flees Budapest, leaving behind her mother and her lover Imre, a guerrilla in the revolutionary movement. When she arrives in São Paulo, Brazil, to study orchids, she piques the interest of Martim, the director of São Paulo’s Botanical Garden. Exiled in Brazil, Írisz immerses herself, even hides in, her work, writing rather unorthodox reports on newly discovered orchid species, mixing her observations of orchids with reflections on the differences between Portuguese and Hungarian, the Communist dream, her relationships with those around her and those she left behind, and our responsibilities to one another.

On the Power and Prison of Gender: 11 Stories and 1 Poem

“The Apartments of Strangers” by Helen Phillips, recommended by Elliott Holt

Excerpted from The Beautiful Bureaucrat

The Beautiful Bureaucrat concerns a young married couple, Josephine and Joseph, newly arrived in a city reminiscent of New York. After being evicted from their apartment, they move from short-term sublet to sublet. Josephine starts a new job that has her stuck for hours a day in a windowless room, entering data that is not explained. Her husband, Joseph, does the same. With her usual mastery, Phillips finds the weird and fascinating in the mundane, and explores what happens when isolation closes in on the individuals in a marriage.

“The Box” by Arthur Bradford, recommended by John Hodgman

After losing his foot in a freak accident, Georgie buys a house with money from the settlement. His house is solitary and private, save for this mysterious box that he is not allowed to touch or move but will rest peacefully in his backyard. Georgie is powerless on his own land, bound by a contract that doesn’t seem to have any loopholes.But this being a Bradford story, comedy and weirdness pervade over the melancholy. As John Hodgman writes in the introduction, “The descent into the underworld is a staple of the hero’s journey according to Joseph Campbell; but only in an Arthur Bradford story would the hero peer into the underworld, shrug, lock it shut, and go get stoned.”

“Bettering Myself” by Ottessa Moshfegh, recommended by The Paris Review

The narrator of “Bettering Myself” is a problem drinker and Catholic school math teacher who says to her students, “Most people have had anal sex. Don’t look so surprised.” Still pining after a divorce and stuck in a web of addictions and bad decisions, Moshfegh, author of the acclaimed novel Eileen, brings a deadpan humor to a story about a wayward life and the difficulty of escaping it.

“Lady of the House of Love” by Angela Carter, recommended by Kelly Link

As a vampire story that invokes “Beauty and the Beast,” “Jack and the Beanstalk,” and perhaps at a stretch, “Rapunzel,” this tale is a classic, swooping Carter masterpiece and appeared in the posthumously published collection The Bloody Chamber. The titular lady is a countess and a vampire, trapped in her vampirism and her castle, let out at night by her governess to feed. As a child she was sated by small creatures, but now she is a woman and must have men. “Of the many works in Chamber, this one is Kelly Link’s favorite: “I love ‘The Lady of the House of Love’ for the luster of Carter’s language,” writes Link in the foreword, “[for] the tensile strength of the prose; its luscious, comical, fizzing theatricality.”

9 Stories About the Magic of Cities

“In the Night of the Day Before” by Jensen Beach, recommended by Graywolf

There are two prisons in Jensen Beach’s story: memory and sexuality. A man named Martin hears the Eagles’s classic “Hotel California” and recalls a visit to San Francisco — and, perhaps more importantly, the stop he made en route. In San Luis Obispo, he met a young man, Cesar, at a bar and brought him back to his motel. Martin goes on to meet a woman in San Francisco, but it is Cesar — and the man Martin was when he was with him — that lingers in his mind when he returns to his normal life.

“Ourselves, A Little Better” by Mai Nardone, recommended by Territory

Each issue of Territory has a theme and each piece published is based off a map that embodies that theme. From the “Prisons” issue, Mai Nardone’ chose to work with a map of the Panopticon. The Panopticon, designed by the 18th century English philosopher Jeremy Bentham, is a circular prison in which all inmates could be observed by a single watchman. It is either a utopian or dystopian structure, perfection or perversion, a mark of utilitarian progress or an overstepping of bounds. It is, like the luxury genetic modification program in this story, a thought experiment of potentially heinous capacity.

No Alcohol, No Women, No Drugs, No Visitors” by Gabe Habash, recommended by Garth Greenwell

Excerpted from the novel STEPHEN FLORIDA

In this excerpt, Stephen visits an oil field on the recommendation of a career counselor. “One of Habash’s talents, in this and many other scenes, is to reveal the hilariously absurd in the crushingly banal,” writes Garth Greenwell in the introduction. The counselor’s nephew turns out to be even more severely off-kilter, more walled-off and strange, than Stephen himself; he lives alone, in an isolated house with an empty Octopus that he intends to fill. On the visit, Stephen is not only trapped in the man’s home, but is given a hellish vision of what a life trapped with your loneliness can become.

Electric Lit Will Offer Scholarships to Catapult’s NYC Writing Workshops

UPDATE, April 5: Applications are now open for spring and summer classes.

With the support of the New York City Department of Cultural Affairs, Electric Literature is proud to offer 20 partial scholarships to Catapult’s NYC writing workshops for the second year. We are now accepting applications through Catapult’s website, and New York City-based writers of all ages and experience levels are invited to apply. (NOTE: because this is a New York City Depart of Cultural Affairs funded-project, all applicants must reside in New York City to be eligible.) To be considered for a scholarship, select the course you’re most interested and click “take this class.” While viewing the registration form, check “Opt-in for a scholarship.” Shortly after submitting your application, you’ll be prompted via email to submit a writing sample of no more than 2,000 words and a brief statement of need. Scholarships are available for 6 to 8 week writing workshops as well as single-day master classes through July 2018, and applications will be accepted on a rolling basis.

Catapult’s workshops topics relate to the instructor’s unique skill set and literary sensibility, and single-day masterclasses offer students the chance to dive into subjects like narrative voice and story structure. These craft-oriented classes are offered alongside courses designed to help emerging writers navigate the publishing industry. Current instructors include Elissa Bassist, Simon Van Booy and Weike Wang, in addition to professional editors and literary agents.

“Over fifteen hundred emerging writers have taken our classes,” said Julie Buntin, Catapult’s Director of Writing Programs. “They’ve gone on to top-ranked MFA programs, won fellowships and awards, signed with agents, published books. We believe that a strong literary community, one that matches emerging writers with engaged mentors, can change an artist’s life, and we’re so proud to be working with Electric Literature on this scholarship program.”

In Nella Larsen’s “Passing,” Whiteness Isn’t Just About Race

Passing is a work of fiction, but it is a true story about the world in which its author, Nella Larsen, lived. To describe it simply as a novel about a black woman passing for white would be to ignore the multiple layers of its concerns. Passing is about the monumental cultural transformations that took place in American society after World War I. It is about changing definitions of concepts like race and gender, and the inextricable relationship between whiteness and blackness. It is a meditation on the uneasy dynamic between social obligation and personal freedom. It dramatizes the impossibility of self-invention in a society in which nuance and ambiguity are considered fatal threats to the social order. The novel is an indictment of consumer culture and the dangers it poses to personal integrity. It reveals the power of desire to transform and unhinge us, and the lengths to which we will go to get what we want. Passing is about hypocrisy and fear, secrecy and betrayal. It is a universal story of the messiness of being human as it is portrayed in the particularly explosive relationship between two black women, Clare Kendry and Irene Redfield.

‘Passing’ is a meditation on the uneasy dynamic between social obligation and personal freedom.

Irene and Clare have not seen each other in twelve years when they reunite by chance on the roof of the Drayton Hotel in Chicago, where both women are enjoying a respite from a blazing hot August day. The Drayton is an exclusive hotel, and not one in which African Americans, or Negroes, to use the parlance of the day, would be welcome. In fact, on the fateful day of their reunion, both women are passing for white.

In Passing, race is revealed to be, in part, a function of performance (the novel is structured in three sections — Encounter, Re-Encounter, Finale — much like acts in a theatrical piece), and blackness a matter of perception. Of the two women, it is Clare who appears to be so convincingly white that not only does Irene fail to identify Clare as a Negro, she doesn’t recognize her childhood friend at all. Even after Clare introduces herself to Irene, Irene still doesn’t recognize her or her blackness. When Clare uses her nickname, Irene searches her memory: “What white girls had she known well enough to have been familiarly addressed as ’Rene by them?” By contrast, Clare identifies Irene immediately. Irene squirms under Clare’s unflinching stare, terrified of being seen for who she is, and also afraid of the embarrassment that would result from being ejected from the hotel.

Passing by Nella Larsen

It is only when Clare emits her distinctive laugh, which is “like the ringing of a delicate bell,” that Irene finally recognizes her old friend. As the women talk, Clare appears more and more black to Irene. “Ah! Surely! They were Negro eyes! mysterious and concealing,” she thinks as she feasts her own eyes upon Clare’s stunning features. “There was about them something exotic,” she thinks. As she is observing Clare, Irene is simultaneously making her up, inventing her — and inventing race, too. Clare isn’t any more of a Negro after she reveals herself to Irene than she was before. As Irene confesses to another character later in the novel, no one can tell just by looking.

According to the guidelines of genealogy, Clare’s claims to blackness are tenuous. Her grandfather was white. Her father was the product of her grandfather’s dishonorable relationship with a black woman. Somewhere along the way, there had been money, but her grandfather squandered it. There is no mention in the novel of Clare’s mother.

Once her father died, his pious aunts took Clare in, not as an expression of filial love but rather a sterile sense of Christian duty. They treated her like a servant, and forbade her from revealing the truth about her racial identity. Their bigotry was frank. “For all their Bibles and praying and ranting about honesty, they didn’t want anyone to know that their darling brother had seduced — ruined, they called it — a Negro girl. They could excuse the ruin, but they couldn’t forgive the tarbrush,” Clare tells Irene. Clare was forbidden even to mention Negroes to the neighbors, much less discuss the South Side, where Irene and her friends lived in Chicago. It was easy for Clare to dispose of such an unhappy past, which was bankrupt of love as well as money.

Clare Kendry has not used her fair skin to make a political statement; she has not been passing in order to undermine and subvert the system of white supremacy. There has been no greater good. Instead she has been passing purely for personal gain. Although she grew up in the same racial world as Irene, her social circumstances were radically different. Among their cohort of middle-class girls, “Clare had never been exactly one of the group.” Her father had gone to college with some of the other girls’ fathers, but he had somehow wound up a janitor, and “a very inefficient one at that.” He was also a violent alcoholic who would ultimately die in a bar fight. Among Irene’s earliest memories of Clare are images of “a pale small girl sitting on a ragged blue sofa, sewing pieces of bright red cloth together, while her drunken father, a tall, powerfully built man, raged threateningly up and down the shabby room, bellowing curses and making spasmodic lunges at her.” The stubborn little girl boldly stitching together the bright cloth in defiance of her father’s rage would grow into a young woman who defied fate, custom, and white supremacy by crossing the color line. But it wasn’t racial self-hatred that catapulted Clare into whiteness; it was the shabby room. Clare passed for white because she hated being poor, not being black.

Clare passed for white because she hated being poor, not being black.

All passing narratives are about class as much as they are about race. One never passes down the social ladder; black characters become, or pose as, white in order to improve their material circumstances, or gain access in general to opportunities for personal, social, and professional advancement. The choice of individual comfort over the advancement of the race as a whole is always rendered as wrong; in most passing stories, material ambition and moral ruin are directly correlated. By the time some passing subjects recognize the truly degraded implications of their decisions to engage in racial masquerade, it is too late. In the film Imitation of Life, the main character comes to her senses only after she finds out that her choice to pass has literally killed her mother. The denial of the black mother is often the surest sign of the low character of those who choose to pass. The narrator in the short story “Passing” by Langston Hughes gets a better job as a white man but his financial success requires him to ignore his own mother as they pass each other on the street. “That’s the kind of thing that makes passing hard,” the narrator sums up in a letter to his mother, “having to deny your own family when you see them.”

Clare is a gambler, playing the high stakes game of racial roulette. For her, passing is a sport, and she is unrivaled in her technique.

Clare Kendry is markedly different from other passing subjects in American literature. For one, she is not concerned with the moral implications of passing for white. Unlike other black characters whose passing enables them to marry white people, Clare does not pass for love. Even though she views passing through the lens of rank materialism, ultimately she sees passing as play. Clare Kendry is not an incarnation of the “tragic mulatto” figure, inherently alienated and adrift, whose mixed blood dooms her to racial purgatory. She is not wandering in the interstices of black and white. Instead, Clare is a hunter, stalking the margins of racial identity, hungry for forbidden experience, “stepping always on the edge of danger.” She is a gambler, playing the high stakes game of racial roulette. For her, passing is a sport, and she is unrivaled in her technique. Clare desires many things, among them to be among Negroes again. But ultimately, the true nature of her driving need is as opaque as the “ivory mask” she wears.

Irene is tied to race out of duty; Clare’s relationship to blackness is affective. “You don’t know, you can’t realize how I want to see Negroes, to be with them again, to talk with them, to hear them laugh,” Clare confesses to Irene. As a woman motivated by passion and excited to cross lines of propriety, Clare has a lot in common with the writer who dreamed her up: Nella Larsen.

Nella Larsen in 1928

Nella Larsen was born Nellie Walker in 1891 in Chicago. Her mother was a Danish immigrant and her father an immigrant from the Danish West Indies. Nella’s father disappeared from her life when she was young. Her mother married a fellow Danish immigrant, Peter Larsen, with whom she had another child. Like many fiction writers, Larsen incorporated elements of her own life into her writing. She shared with Clare the experience of being unwanted by white family members; neither Peter nor her half-sister acknowledged the ties that bound them. Like Clare, Nella was born poor and on the wrong side of town. Not only did Larsen spend her childhood in the vice district of Chicago, she was confronted by other dangers: a city in which the crossing of racial lines was unwelcome and cost those who disregarded them dearly. The rigid lines were officially underscored when, in 1920, the category “mulatto” was dropped from the census. There was no room for individuals whose bodies failed to conform to convention.

Nella was introduced to the world of the black bourgeoisie — the world in which Irene moved easily — when she was a student at Fisk University. There she bristled at the strict codes of dress and conduct. In her 1928 novel Quicksand, Larsen describes the disdain that the main character Helga Crane has toward the smug, insular world of the black elite at the fictional college of Naxos (an anagram for Saxon). “These people yapped loudly of race, of race consciousness, of race pride, and yet suppressed its most delightful manifestations, love of color, joy of rhythmic motion, naïve spontaneous laughter.”

Ultimately Larsen was expelled from Fisk, most likely for violating dress code. Larsen went from Fisk to Denmark, where she had spent time as a child. She returned to the United States and enrolled in nursing school, taking a position as head nurse at Tuskegee Institute in Alabama, the incarnation of the vision of Booker T. Washington, and along with Fisk, a model for Naxos. It was known as the “Tuskegee machine.” In Quicksand, Helga reflects on her school: “This great community, she thought, was no longer a school. It had grown into a machine.” Larsen found the working conditions at Tuskegee untenable. She resigned in 1916.

A few years later, she married Elmer Imes, who was at that point one of two African Americans to have ever held a Ph.D. in physics. The couple moved to Harlem, where Larsen took a job at the 135th Street branch of the New York Public Library, now the Schomburg Center for Research in Black Culture. Soon her life as a writer would begin.

As Elmer’s wife, Nella began to spend time with intellectual and cultural luminaries of the 1920s, black men like James Weldon Johnson, Walter White, and W. E. B. Du Bois. These men were architects of the Harlem Renaissance, authors of crucial philosophies that captured the concerns of black intellectuals of the moment. They were also central figures in the National Association for the Advancement of Colored People, an organization for black progress that Du Bois helped to found in 1909. Irene Redfield, who prides herself on being a ticket taker for a ball for the Negro Welfare League, would have been impressed by the company Larsen kept.

It is safe to say that both Nella Larsen and her character Clare Kendry would have had easier lives as mixed-race women in the 21st century. If the 1920 census, with its removal of “mulatto” as a viable racial category, officially erased the experience of being mixed-race in the United States, the inclusion on the 2000 census of categories that allow individuals to identify for the first time in history with more than one race has already generated new stories. According to the 2010 Census Brief, since 2000, the population reporting multiple races increased by 32 percent. Already, the structure of the new census has enabled people with complex racial backgrounds to more aptly define themselves.

It is safe to say that both Nella Larsen and her character Clare Kendry would have had easier lives as mixed-race women in the 21st century.

Unfortunately, the script had already been written for Clare. She was a woman who insisted on being free, and she paid for the crime of her hunger not only to defy racial convention but also the customs of gender, as well. The men in the novel are world explorers, or yearn to be: Jack Bellew is an international banker; Hugh Wentworth has “lived on edges of nowhere in at least three continents”; Brian Redfield longs to abandon American racism and move to Brazil. Clare is the true adventurer, however. Her wanderlust is domestic but perhaps more dangerous in that it is not structured by travel or outlined in a map but rather a function of her everyday life. Her literary descendants, such as Janie Crawford in Their Eyes Were Watching God by Zora Neale Hurston; Sula in the eponymous novel by Toni Morrison; Birdie in Caucasia by Danzy Senna; and the protagonists in Interesting Women by Andrea Lee, also live dangerously by pushing the boundaries of social convention. But in the high stakes games that Clare plays in 1929, the house always wins.

“What is Africa to me?” muses the speaker in “Heritage.” Where does race reside? In blood, ancestry, or emotion? How can it be identified, much less quantified? Is it absurdity or a mystery? Race is a function of law, history, and politics, not science. Yet there is an ineffable quality to blackness, a mysterious factor that drives Clare to risk everything in order to “see Negroes, to be with them again, to talk with them, to hear them laugh.”

It is this ineffability, the mystery that Clare embodies, that Irene cannot bear. She curses race as a yoke, but what she ultimately rejects is not a racial bond with Clare, but the awareness that identity itself is transitional, as mobile as the trains that made it possible for millions of African Americans to leave the South during the Great Migration, and the railroad car that provided the platform for Homer Plessy’s historic confrontation. The self itself is unstable, just like the concept of race.

At the end of the novel, Irene finishes her final cigarette and throws it out of a window, “watching the tiny spark drop slowly down to the white ground below.” It is impossible not to associate the cigarette sparks with the vitality and danger that Clare brought into her life. But Clare Kendry is unforgettable. After all, when a fire goes out, one does not necessarily remember the ashes. But one certainly remembers the brilliance of the flame.

Adapted from PASSING by Nella Larson, published by Penguin Books, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC. Introduction copyright © 2018 by Emily Bernard.

Karl Ove Knausgaard On Writing Habits, Conversation, and Why They’re Both Kind of Dumb

Karl Ove Knausgaard’s book Winter, which will be published on January 23, is the second in a series of four seasonal books, in which the Norwegian memoirist collects short essays, meditations, and letters to his as-yet-unborn daughter. The subject matter in Winter ranges from toothbrushes to Norse deities to Santa Claus to the moon, but of course it circles back many times to words and writing—Knausgaard’s passion and profession. In the following excerpts, Knausgaard talks about his writing habits—not what time he starts work every day, mind you, but what a habit actually is and where our need for them comes from—and discusses the difficulty of interpreting a conversation when all you have to go on is words.

Habits

For some reason writers are often asked about their routines and habits, such as what time they get up to write, whether they write by hand or on a computer, whether there is something they can’t do without while they are writing. What it is about the writer’s role in particular that awakens public interest in their daily lives is hard to say, but there must be something, since this doesn’t happen with other comparable professions. Maybe it has to do with the fact that everyone can write and read while at the same time there is something exalted about the role of the writer, and that this gap, which seems incomprehensible, must be bridged. Or it may have to do with the fact that writing is voluntary, and that a person who writes can always refrain from doing so, which is unthinkable in the case of an employee, and therefore obscure or tempting. When I was young I read interviews with writers with avid interest. I wasn’t looking for a method, I don’t think; what I wanted to find out was rather what it took. A pattern, a common denominator: what makes a writer a writer? Now I know that all writers are amateurs, and that perhaps the only thing they have in common is that they don’t know how a novel, a short story or a poem should be written. This fundamental uncertainty creates the need for habits, which are nothing other than a framework, scaffolding around the unpredictable. Children need the same thing, something has to be repeated in their lives, and this can’t be something inner, it has to involve external reality, they must know in advance at least some of what is happening around them. That repetition is not innate to us, the way it is to most other beings, but has to be created and maintained by acts of will, is perhaps the main difference between animals and humans. Animals such as dogs who are taken from their natural surroundings and introduced into new settings have nothing to parry unpredictability with, and get caught up in insane repetitions, tics and other compulsive acts. If it is great enough, children react to unpredictability in similar ways. Anxiety, aggression, antisocial behavior. Dante held that we can never understand the actions or feelings of others by reference to our own, as the baser animals can, and that this is why God gave us language. In other words, to make the differences visible, so that they become predictable and functional and enable social relations. But if differences are repeated, they become similarities, that is their own opposite. This makes language treacherous, it serves two masters, and that and no other is the reason literature exists. And that is why only people who are unable to write are able to write it. For if habit is allowed into literature and not kept outside, it is no longer literature, merely still more scaffolding around life.

Conversation

A great deal of interpersonal communication takes place outside language. If one records a conversation and writes down what was said, it becomes clear how important context is to what is spoken, which in itself is incomplete, characterized by hesitation, lacunae and allusions, and not seldom borders on the meaningless. This is so not only because we employ our whole body to complement our words when we speak, or because in a conversation we are attentive to everything the other bodies convey soundlessly, but because the conversation itself is usually about something quite other than what the words express. A conversation about something that has intrinsic value, where what is said is both important and interesting in itself, occurs so rarely that it clearly isn’t the main objective of human intercourse. “It sure is raining outside” is a fairly common statement, and clearly perfectly meaningless since everyone who hears it can see the rain for themselves. “It certainly is” might be the equally meaningless reply. Then there might be a pause before the next statement is uttered. “They say it’ll improve a little tomorrow.” What this conversation is really about is impossible to determine until we know where and when it took place, who took part in it and what kind of relationship there was between them. If it occurs in a large house the morning after a party, most guests having left to visit the small coastal town nearby, between two people who have chosen to stay and take it easy, maybe read a little, and who don’t know each other but are now in the same room, and he is looking out of the window at the shiny wet green lawn and the heavy grey sky, where dense streaks of rain hang like a gently wavering curtain, and she, who was in a chair reading until he entered the room, but has now risen, walked over to the large tiled stove and put a couple of logs into it, and who, as he says that tomorrow’s forecast is better, tears off a piece of newspaper and pushes it in beneath the logs, then the exchange of words about the rain might be a way of establishing a shared space, of affirming that though they don’t really know each other, they aren’t strangers either, since they have common friends and are now here together. In that case they will each soon go their own way, and before long both the conversation and the situation will be permanently forgotten. But if their eyes met several times during the party the evening before, without any words being exchanged, just these crossed glances, then the conversation in the living room, where she is now striking a match against the rough edge of the big matchbox, and he turns to look at her, and she feels his gaze even though she is crouching with her back to him and poking the lit match into the paper, which immediately catches fire and starts to burn with a thin flame, then it might mean something very different. When she tosses the still-​lit match into the fire and stands up, unconsciously rubbing her palms up and down along her thighs as she meets his gaze, and he smiles quietly as he cups the hand that is hanging at his side, and she says, “But it’s good for the farmers at least,” it is turning into a conversation neither of them wants to end, because they are in the process of finding each other through it, and if they do, then perhaps her line “But it’s good for the farmers at least” will later become a classic in their personal mythology, when the first time they met has been turned into a story they remind each other and perhaps also the children of once in a while, to strengthen the bonds that ineluctably weaken over time, and conversations that on paper look flat finally carry no other charge, expressing only indifference.

Flood, Fire, Fish

FLOOD

A hurricane came and everyone left, except for Roy and George. George was eighty years old. He had survived hurricanes before and considered them a massive inconvenience, as well as an opportunity for the poor to loot his home. Roy stayed because he was a dog: a Dachshund, a very loyal breed. Anyway, the hurricane landed and proceeded to cause, as the newscasters put it, “historical devastation.” The more fanciful and apocalyptic stations favored the term “biblical,” but the point was not argued.

Meanwhile, the hurricane had flooded George’s home. George was treading water and holding onto an air mattress, while Roy sat atop it. George had lost his glasses and the dim shape of his old tufted armchair rocking woozily in the brown water was terrible, terrible. The water rose until Roy and George’s heads were just below the ceiling. It was night now, and difficult for George to keep awake. But Roy did not abandon George, licking his face every time he drifted off or let go of the air mattress. By late morning the water had receded slightly, and Roy and George escaped from the house.

By noon the next day, this was being broadcast as a miracle. Certainly it was a good bit of spit-shine for something people liked to believe in. The man had stayed to protect his home, the dog to protect his master! There was something about the odds — George’s age, Roy’s short legs, the forces they were up against — that warmed people’s hearts. The rest of the footage, splinters swirling in rippled murk, dark faces mouthing soundlessly from a patchwork of roofs, chilled them to the bone.

Soon however the news moved on, and so did Roy and George. George was sent to a facility for the elderly. Dogs were not allowed there, and Roy began a tour of schools for disabled children to continue his work, whatever that was. George’s home was not looted, but the furniture was swollen and stained, the walls soaked right up to the rafters. In the end it was torn down with the neighborhood, the lot scraped clean as a bone. Something new would be built there. It was said that the same mistakes would not be made again.

FIRE

A group of men plotted to blow up a building, a high building where high finance went on. On the appointed day, they lit themselves like fuses, setting the twin spines of the hijacked elevator shafts alight. Smoke and flames and sprinkler systems began to wreck their urgent havoc. Marcel and his guide dog, Nina, were in a conference room on an upper floor, where the fund Marcel worked for was discussing seaweed. Marcel had an uncanny knack for predicting the market, and his opinions about nascent trends were highly valued. Privately it was said that his blindness had something do with it, something sonar-or-other, “like bats”; maybe he could hear the money moving around. In the conference room, people began to panic, but Marcel and Nina stayed calm.

Nina, a sleek retriever with aloof blue eyes, rose and guided Marcel out of the conference room and into the rising hysteria of the hall. She led him to the stairwell and down many flights of crowded stairs and out of the flaming building into the street. Traffic had gridlocked around empty cars with open doors and the metro had stopped running underground. The streets were all movement, awash with sirens and people who had begun to run, though they didn’t all know what from. Unperturbed by the chaos and the rising clouds of smoke and dust, Nina led Marcel across the city all the way to his apartment uptown.

Later, it emerged that Marcel was the only man from his morning conference to make it out alive. Was the blind man blessed? People had to wonder. For a week or two man and dog were much photographed, but something about their eyes — the one pair blue, the other blind — was a little creepy on camera. Though he had emerged unscathed, something had changed in Marcel. His market predictions became spotty, erratic. When the crash came later that year, he found he was thoroughly unprepared.

FISH

On a clear, windless day a dolphin swimming off the coast of Florida got caught in a crab trap line, where she sustained horrific injuries. Some time later a crew of activists arrived and, after much exclamation and photography, disentangled the dolphin and transported her to the Marine Aquarium onshore.

Along with marine species from around the world, the aquarium was home to a highly respected team of biologists and veterinarians. In the intervening weeks and interventions that followed, the dolphin’s tail was removed along with two her vertebrae, and she was named Wanda by the staff. What now? They wondered. It did not seem like the right place to stop: too far from the start, too short of something. Luckily there was a war on, and the technology for prosthetics had never been better. Wanda was fitted with a prosthetic tail and, amazingly, trained to swim in a new pattern that would accommodate it.

Wanda had much opportunity to demonstrate this feat in the tank on the main floor where she swam back and forth against the glass, smiling. Children of all sorts were brought to see the dolphin: sick children, school children. Species were labelled with their proper names at the bottom of each tank, and colored interactive maps distributed them according to preferred regions and climes. Most children however seemed happy enough not knowing the names of things, and ran heedlessly from tank to tank, pressing their hands against the increasingly blurry glass.

One little girl however, Martha, visiting the aquarium with her mother, spent some time studying the wall text that accompanied Wanda’s tank with peculiar intensity. The girl’s mother was a medievalist and the child had absorbed a notion that dense texts illuminated a great many mysteries, including her mother. “The fish was saved from the sea, Ma,” Martha said when she had finished reading. Martha’s mother frowned; she had a perfect phobia of paraphrase — that was how she put it, a perfect phobia of paraphrase — but in this instance it seemed essential to correct the particulars, rather than the ill shape of summary. Believing that a child must understand the world sooner rather than later, she made it quite clear to her daughter that a dolphin was not a fish.

About the Author

Olivia Parkes is a British-American artist and writer currently based in Berlin. Her work has been published in Hayden’s Ferry Review, American Chordata, The New Haven Review, Gone Lawn, Bosque Magazine, and Blue Five Notebook, and is forthcoming in Zyzzyva. In 2016, she was awarded second prize in The Exposition Review’s Flash 405 contest.

11 Incredible Books by Writers from “Shithole” Countries

According to The Washington Post, our stable genius president complained in a meeting that the U.S. is admitting too many people from “shithole countries.” At issue were visas granted to immigrants from African nations and countries designated as “temporary protected status,” including Haiti and El Salvador. “Why are we having all these people from shithole countries come here?” Trump reportedly complained (he now says he didn’t, but come on: he absolutely did). We should, he said, instead admit more immigrants from Norway—a nation nobody would voluntarily leave for the U.S. since its health care, quality of life, and GDP per capita leave ours in the dust. Who’s the shithole country now?

This is obviously racist bullshit for a number of reasons. But it’s a good reminder to celebrate the work of writers from Africa, and from Haiti, El Salvador, and other protected-status countries. As writers, readers, and human beings, we would all be intellectually impoverished by the lack of these voices. Here are some of our favorite novels, memoirs, and poetry by authors from the countries Trump disdains, many of whom celebrate their complicated homelands in their work.

The Art of Death by Edwidge Danticat

Edwidge Danticat is an award-winning Haitian-American author, Macarthur Fellow, two-time National Book Award nominee, winner of the National Book Critic Circle award, and national treasure. The author of numerous novels, short stories, young adult novels, essays, memoirs, and even a picture book, there is seemingly nothing this woman cannot write. Her most recent work, The Art of Death, is both a personal memoir of her mother’s death and a philosophical investigation of representations of death in literature.

Behold the Dreamers by Imbolo Mbue

No matter what the racist president might tell you, nobody understands—or embodies—the American dream better than immigrants. Cameroonian-born Mbue’s compelling debut novel follows the travails of a couple transplanted from Cameroon to New York City during the Great Recession.

Americanah by Chimamanda Ngozi Adichie

Nigerian writer Adichie has made waves both as a novelist and an essayist writing about feminism. Her bestselling Americanah grapples with the way that immigration can shake identity; her Nigerian characters, transplanted into the U.S. and the U.K., find that their new context changes how they’re seen and how they think about themselves.

Carrying Knowledge Up a Palm Tree by Taban lo Liyong

South Sudan is a brand-new country, but South Sudan-born poet and writer Liyong has been challenging literary barriers for decades. The first African writer to graduate from the Iowa Writers Workshop, Liyong has long been a gadfly of African academia, criticizing the ongoing colonialism of the English department. His poetry collection Carrying Knowledge Up a Palm Tree engages with some of his ideas about African intellectual history.

Homegoing by Yaa Gyasi

Gyasi’s explosive 2016 debut quickly became a New York Times bestseller and landed on numerous best-of-the-year lists. The novel tells the story of the descents of Effia and Esi, half-sisters who are born into very different lives in 18th Century Ghana. Esi is sold into slavery while Effia is married to a British slaver. By tracing their families over generations, Gyasi makes the global history of slavery resonate on a deeply personal level.

We Need New Names by NoViolet Bulawayo

Bulawayo’s acclaimed debut is a coming-of-age story that follows 10-year-old Darling from Zimbabwe to adult life in the midwestern United States. The novel was nominated for both the Booker Prize and the Guardian First Book Award. In 2012, Bulawayo was named one of the 5 under 35 by the National Book Foundation.

Teaching My Mother How to Give Birth by Warsan Shire

Poems don’t usually go viral, but Somali poet Warsan Shire managed it with “Home,” her ferocious and heartbreaking explanation of the refugee experience. If you didn’t encounter “Home,” though, perhaps you know her from the snippets of poetry in Beyonce’s “Lemonade” album—those are adapted from Teaching My Mother How to Give Birth. Shire’s poetry is accessible and blade-sharp, easy to read and hard to forget.

Under the Udala Trees by Chinelo Okparanta

Okparanta’s debut novel seems to have won or been shortlisted for every possible award for which it was eligible. We meet Ijeoma when she is 11 and before Nigerian independence. Sent away to safety, she meets another displaced girl, and they fall in love. Discovered, Ijeoma is forced to hide this part of herself. Inspired by Nigerian folk tales, Under the Udala Trees is at once the story of a divided and emerging nation, and a coming-of-age narrative of a woman trying to become her full, true self as she seeks and accepts love.

Senselessness by Horacio Castellanos Moya

Honduran-Salvadoran writer Castellanos Moya’s first book translated into English is a horrifying, emotional, darkly funny novel about…editing. It centers on a writer who, like Castellanos Moya, is living in political exile (Castellanos Moya from El Salvador, the unnamed writer from an unnamed Latin American country). The writer is tasked with editing a document from the Catholic Church detailing the human rights abuses of the military regime, and descends into a fever dream.

Concerto al-Quds by Adonis

Regarded as the greatest living poet in the Arab world, Adonis (whose full name is Alī Aḥmad Saʿīd ‘Isbar) is also an essayist, and one of the most influential and controversial voices in discussion surrounding the Syrian regime. “Concerto” was published in 2012, and written in response to the 2011 protests that broke out in Syria. A perennial nominee for the Nobel Prize for Literature, Adonis has won the first ever International Nâzim Hikmet Poetry Award, the Norwegian Academy for Literature and Freedom of Expression’s Bjørnson Prize, the Highest Award of the International Poem Biennial in Brussels, and the Syria-Lebanon Best Poet Award.

Kintu by Jennifer Nansubuga Makumbi

Heralded as the “Great Ugandan Novel,” Kintu rewrites the history of the country by excluding colonization. The novel follows one dynasty through eras, from what would be the pre-colonial period to modern times. You can get a taste of Makumbi’s violent, funny, and heartbreaking book from this excerpt in Recommended Reading.

What’s a Book That Made You Fall in Love?

Granted, it’s a little early for Valentine’s Day, but hey, the displays went up in drugstores on like December 31 this year. If you can buy a red foil box of chocolate in a Walgreen’s, it’s officially Valentine’s Day season, and it’s time to talk about what makes our hearts beat faster. For the new Novel Gazing, Electric Lit’s personal essay series about the way stories shape our lives, we’re asking: What’s a book that made you fall in love?

Of course, “love” doesn’t have to mean heteronormative flowers-and-candy stuff. It doesn’t have to mean romantic love at all. Take a look at The New York Times’ Modern Love column if you need inspiration: you’ll find essays about marriage, dating, and divorce, but also about intense platonic friendships, familial bonds, and no-strings hookups. What do we talk about when we talk about love? That’s up to you.

Whatever you decide it means, I want to hear about a book (or movie, show, game, or other story) that made you fall in love—with someone, or something, or even the book itself if you can make that an interesting essay. Maybe you became obsessed from afar with the author or the protagonist of a novel. Maybe someone else’s memoir made you realize that a partner you’d felt lukewarm about was actually right for you. Maybe a film made you suddenly smitten with your hometown for the first time. Maybe you looked across a subway car to see the cover of the same book you were engrossed in, and then the beautiful eyes above it, and the rest was history. If a story gave you a rush of oxytocin, made colors look brighter, raised your pulse rate, altered your self-concept and your relationships—you know, all the things love does—then it’s fair game. (A word of warning, though: There are a lot of cliché pitfalls for this one. You can do that one about the identical novels and the subway car, for instance, but you’d have to make it really bang. Might be better to look slightly to the side of the beaten path for your ideas.)

You may want to read some earlier Novel Gazing essays to get a feel for the series. Some recent favorites include essays about reading the Song of the Lioness series as a closeted young gay man, about losing faith in Mormonism while reading a Jon Krakauer book, and about turning to A Clockwork Orange in order to feel like the “right” kind of abnormal.

Essays should not be longer than 4,000 words or shorter than 800, and payment is $60 per piece. Submissions will remain open through January 26.

26 Books Coming to Film and Television in 2018

The second best part about movie and TV adaptations is you can eat snacks throughout the entire story, which is hard when you need to turn pages. The best part is that you can complain that “they changed that from the book.” Here are some books to dig into before their adaptations come to the big and small screen in 2018.

Movies

The Tale of Peter Rabbit by Beatrix Potter: February 9

Lovers of children’s classics, rejoice! The Tale of Peter Rabbit is slated for release on February 9th. It should be a great film for the kids, and maybe for you if you don’t mind seeing your childhood classic reimagined in CGI.

Annihilation by Jeff VanderMeer: February 23

This science fiction flick, starring Natalie Portman, looks like it is ready to deliver some serious sci-fi with those timely political undertones that make the genre so sexy.

Every Day by David Levithan: Feb 23

A tear-jerker of a page-turner, Every Day will now be on the screen so you can get a good cry out in a crowd of people. Almost like crying on the subway, but more communal.

Red Sparrow by Jason Matthews: March 2

Jason Matthews, former CIA, probably knew his book would be picked up by Hollywood. It looks like it’ll be an attractive film filled with the unbelievable action that producers and consumers love.

A Wrinkle in Time by Madeleine L’Engle: March 9

A beloved young adult fantasy classic, a hotshot director (Ava duVernay), and OPRAH.

Simon vs. the Homo Sapiens Agenda (Love, Simon) by Becky Albertelli: March 16

I’ve never seen a book be described as cute multiple times, but Simon vs. the Homo Sapiens Agenda nailed it.

Ready Player One by Ernest Cline: March 30

When this science fiction novel/compendium of nerdy self-congratulation hit the shelves in 2011, it was an instant cult favorite, and an almost-as-instant hate-read. Will the Spielberg adaptation be beloved, loathed, or both?

Where’d You Go, Bernadette by Maria Semple: May 11

Just in time for Mother’s Day 2018, Where’d You Go, Bernadette tells a story about a daughter trying to track down her missing mom (played by Cate Blanchett).

Crazy Rich Asians by Kevin Kwan: August 17

The insanely wealthy families of Singapore are now gaining a platform in the U.S. with the release of the Crazy Rich Asians by Kevin Kwan. The film adaptation will most likely be glamorous, shimmery, and all around visually pleasing.

Boy Erased: A Memoir of Identity, Faith, and Family by Garrard Conley: September 28

After memoirist Conley’s family discovered his identity as a gay man, they forced him into conversion therapy that used faith in an attempt to erase his homosexuality. Expect the movie to be timely and harrowing.

The Jungle Book by Rudyard Kipling (Mowgli): October 19

This film adaptation is definitely set to be more action-packed and less sing-along than the last adaptation.

Queen of Scots by John Guy: November 2

The film and the book are perfect for passing time on a chilly evening and being inspired by a kickass lady so you can grab life by the horns when the weather isn’t so frightful.

How the Grinch Stole Christmas! by Dr. Seuss: November 9

It’s been almost two decades since the last How the Grinch Stole Christmas so I guess it’s time.

Fantastic Beasts: The Crimes of Grindelwald based on Fantastic Beasts and Where to Find Them by J.K. Rowling: November 16

They will never stop doing this to J.K. Rowling.

Mary Poppins Returns based on Mary Poppins by P. L. Travers: December 25

Emily Blunt as Mary Poppins, Dick Van Dyke in a cameo role, and Lin-Manuel Miranda! Anybody else see this as a perfect Christmas gift?

Ashes in the Snow based on Between Shades of Gray by Ruta Sepetys: No official release date

Between Shades of Gray is a work of historical fiction, drawn on true testaments from survivors of the Baltic genocide.

The Bell Jar by Sylvia Plath: No official release date

Kirsten Dunst is directing this adaptation starring Dakota Fanning, who is somehow now old enough to play college-age Esther Greenwood, the thinly-veiled Plath analogue.

Bel Canto by Ann Patchett: No official release date

Bel Canto, in Italian, means “beautiful singing,” but the story isn’t just about singing. (Though it is about a singer!) It’s about the ways that the unexpected interfere with the anticipated, the same way beautiful singing startles us with its piercing beauty. Should be good.

The Invisible Man by H.G. Wells: No official release date

Attempting to follow Claude Rains in this role may be Johnny Depp’s greatest act of hubris so far.

Television:

The Alienist by Caleb Carr: TNT, January 22

Think Law & Order: SVU, 1892 edition. Featuring Theodore Roosevelt and J.P. Morgan. (And Dakota Fanning again!)

Little Women by Louisa May Alcott: PBS Masterpiece, May 13

On Mother’s Day, literature’s four favorite women will premiere thanks to PBS. Thank you, Louis May Alcott!

Sharp Objects by Gillian Flynn: HBO, June

The official date is yet to be announced, but expect to be glued to this crime-drama, from the author of Gone Girl, sometime in June.

Fahrenheit 451 by Ray Bradbury: HBO, no official release date

It’s hard to ignore why any book lover would be excited for Fahrenheit 451’s television series. There’s no official release — but it’s coming, for all of us.

Sweetbitter by Stephanie Danler: Starz, no official release date

Working in the restaurant industry already has the drama and tension of a reality TV show, so this should be good.

Dietland by Sarai Walker: AMC, no official release date

Judging from the book as well as its reviews, Dietland will be one of those shows you watch with your friends over some wine and charcuterie, followed by revisiting the @Mencatperson twitter page.

Good Omens by Terry Pratchett and Neil Gaiman: Amazon Prime, no official release date

This hilarious romp about Armageddon could not be more timely. Features Michael McKean, Jon Hamm, and David Tennant in a very bad wig.

8 of the Best New York City Meet-Cutes in Literature

I moved to New York in 2010. When I left two or three years later, a friend asked me what my best moment here had been. I realized I had no snappy anecdote; instead, what I thought of were those times when I was on my own, well-caffeinated, and walking somewhere above Canal and below 14th. Being in Manhattan on a big-skied day can feel insanely exultant, outrageously full of potential.

Purchase the novel.

The prime intoxication of any city is the probability of chance encounter, but this feels exceptionally heightened in New York City, a place of intersections both literal (it’s really a giant grid) and figurative (there’s coincidence to be had in a population of 8.5 million and counting.) My debut novel, Neon in Daylight, is plotted around chance encounters on downtown streets, but it’s also driven by the romantic, reasonable idea that you might meet anyone here, that they might change your life. The literature of the city is filled with moments of connection, coincidence, and confrontation on its streets. Here are a few of the best.

“Wants” by Grace Paley

Brief and guileless as a shrug, Paley’s story packs the enormity of regret, affection, marriage, personhood into fewer than 800 words. Its first three sentences are incidental and monumental: “I saw my ex-husband in the street. I was sitting on the steps of the new library. Hello, my life, I said.”

Breakfast at Tiffany’s by Truman Capote

There are few more fascinating strangers than Holly Golightly, and she’s particularly appealing when glimpsed by the novella’s unnamed narrator, from a Fifth Avenue bus stop: “I noticed a taxi stop across the street to let out a girl who ran up the steps of the Forty-second Street public library. She was through the doors before I recognized her, which was pardonable, for Holly and libraries were not an easy association to make.”

Debbie Harry at the Supermarket” by Wayne Koestenbaum

In Manhattan, the stranger ahead of you in line might also be a generation’s icon. However many times I walk past the grand old Chelsea building where Debbie Harry still lives, I will always think the words “Debbie Harry at the Supermarket.” Koestenbaum, crushing wildly, spins a roaming ode of an essay precipitated by spying the Blondie singer ahead of him, waiting to buy groceries. The ensuing rhapsody includes this observation: “The terror of being unable to describe Debbie Harry’s sublimity is built into the experience of apprehending it…” Stars: they’re nothing like us.

The Purchase” by Elizabeth Hardwick

An author sometimes needs to incite her characters into collision, and Hardwick knows that life’s putative chance encounters can also be semi-orchestrated, half-willed. The magic of chance in this story is more the contrivance of the character himself, Palmer, who heads downtown with the intention of running into an acquaintance’s wife — and succeeds, cranking the story’s gears into motion. (There is the added pleasure of imagining moneyed Hudson Street as a place where, “a dingy, unkempt, transient quality still clung to the neglected alleys.”)

Jazz by Toni Morrison

“Romantic love seemed to me one of the fingerprints of the twenties, and jazz its engine,” Morrison wrote of her sixth novel, in which the city, an extra engine to the jazz, is unnamed but unmistakably New York—specifically, 1920s Harlem. The central couple, Joe and Violet, arrive together, but it’s in the city streets, which Morrison riffs on in bursts like sax solos, that they encounter themselves and each other for the first time: “The minute they arrive at the train station or get off the ferry and glimpse the wide streets and the wasteful lamps lighting them, they know they are born for it. There, in a city, they are not so much new as themselves, their stronger, riskier selves. And in the beginning when they first arrive, and twenty years later when they and the city have grown up, they love that part of themselves so much they forget what loving other people was like — if they ever knew, that is.”

Dancer from the Dance by Andrew Holleran

The first line of this unashamedly lush and lyrical 1978 novel, an under-celebrated gay classic, announces itself as a novel of crowds, glances and aleatory romance: “He was just a face I saw in a discotheque one winter…” That face is Malone’s, a character who commits to love in the grand abstract after a random, but longed-for encounter with a messenger boy, a Puerto Rican kid from the Bronx, a kind of cupid in “maroon pants and sneakers.” “Little wonder,” that when Malone, “looked at strangers on the street now, his unquiet yearning for rescue went out to them.”

Just Kids by Patti Smith

Smith’s celebrated memoir of her relationship with Robert Mapplethorpe includes the memory of meeting him on her first day in the city. A chance meeting in Brooklyn is also an instantaneous enchantment: “I watched him as he walked ahead, leading the way with a light-footed gait, slightly bowlegged. I noticed his hands as he tapped his fingers against his thigh. I had never seen anyone like him. He delivered me to another brownstone on Clinton Avenue, gave a little farewell salute, smiled, and was on his way.” Days later, he walks into the bookstore where she works. The rest is punk history.

Underworld by Don DeLillo

The greatest novel DeLillo ever wrote, which is also one of the greatest novels anyone ever wrote, is shot through with the electricity of street encounters. The most significant is one of plain eros. Klara Sax, unhappily married, artistically frustrated, sees Nick Shay standing by a lamppost from her window. He sees her, flicks a cigarette, walks across the street and the thing is begun: an affair, a plot.