A Story About the Threat of Teenage Sexuality

“Nuclear Heartland”

by Catherine Cooper

Ange stared at her father’s hairy hands on the steering wheel. How gross, she thought. He’s like an ape. “Next is Holy Terror,” he said. “Read me the instructions.”

She opened the guidebook and searched for the name. Her finger traced the pages that were most heavily marked with his messy handwriting, past Contaminated Forevermore and Prairie Primeval until she found it, between To Be or Not to Be and Whamo Grano Blamo.

“From the railroad tracks at Greene, go north two dot five miles on State Highway 28,” she read. “Then right two dot seven miles.”

“Point seven,” he said. “The dot means point.”

“Missile is on the left.”

Putting down the book, she turned uncomfortably in her seat belt and a spear of underwire bit into her side as she looked out the back window at the dust rising between the car and the barbed-wire fence surrounding Justice Stops Here. She wished she had the nerve to ask him, so she could think about something else. Maybe she could make a joke about it, like it was no big deal. Or she could just say it directly, but if she was going to do that, she should have done it when he mentioned the Motel, which was hours ago. If she said something now, it would seem like that was all she’d thought about in the meantime.

Nuclear Heartland (Electric Literature’s Recommended Reading Book 276)

“Are these the railroad tracks?” he said, suddenly frantic. “How are you supposed to know if this is Greene? There’s nothing here!” As usual, she didn’t know the answer, but she turned to look out the front windshield to show solidarity with his latest navigational conundrum.

The trip had begun that morning, when he picked her up from her mother’s house in Souris, Manitoba. She hadn’t slept much because her breasts were throbbing and she couldn’t find a comfortable position on her side or back. She was used to sleeping on her stomach, her hands folded under her like a little angel, but there was no room for her arms any more.

She’d had to rush through breakfast because she knew it would take at least half an hour to rig up the beige granny bra from Eaton’s that she had converted into a kind of binding device. First she sucked in and pulled the bra over her head and shoulders. Next she leaned forward and slowly stretched the material over her breasts, one at a time. Then she had to disperse each breast within the bra, stuffing the sides under her armpits. After that, there was a whole system of fastening and adjusting involving an arsenal of safety pins and elastic bands. In the end, she’d settled for a slightly lopsided, smooshed-to-one-side look in exchange for a setup that was bearably painful and rarely stabbed her or came undone.

Meanwhile, her mother had spent the morning carefully arranging her hair and makeup to look like she’d rolled out of bed even-skinned and gently tousled, and the two of them had fought over the bathroom like a pair of teenagers. Ange knew her mother’s preparations meant she was planning to come outside when he arrived. It drove her crazy the way her mother performed for men. With some, she played at helplessness, saying things like, “It’s so good you were here. I have no idea about these things.” With others, usually the ones Ange liked best, she was cold and arrogant for no reason. With Ange’s father, it was always the independent woman routine, which left Ange torn between whatever loyalty she still felt for her mother and her desire to distance herself from the embarrassing display.

Despite the various acts her mother put on for men, Ange knew that she hated them all equally. “They’re all out to get you,” she told Ange, who had been shamed into wearing baggy clothes and keeping her T-shirt on in the pool since she was ten. “They only want you for your body,” her mother said, but the way Ange saw it, at fourteen years old, her body was completely trashed anyway. Her breasts were rippled with bruise-colored stretch marks, her ribs were deformed by the constant rubbing and digging of underwire, her shoulders were rutted with grooves from her bra straps, and her spine was probably growing crooked because when she stood up straight the other kids said she was flaunting her boobs.

It had been more than a year since Ange had seen her father. When he had called to suggest the trip, he’d talked to her mother for at least five minutes before asking for Ange, who was so preoccupied with trying to figure out why he was talking to her mother that she was defenseless when he asked if she would like to take an “environmental awareness” trip to North Dakota.

In the past, he had often involved her in his activism, which was fine when she was a cute kid having her picture taken holding signs she didn’t understand. But as she got older, he’d become increasingly critical of what he called her lack of interest in the world, and since they saw each other so infrequently after he moved to Regina, his criticism eventually became the basis of every conversation they had, until he finally seemed to lose interest in her altogether.

“Just for one night,” he’d said, and she’d agreed because she felt sorry for him. She regretted her moment of weakness as soon as it dawned on her that one night meant sleeping arrangements would have to be made, and that the making of those arrangements meant that he must have considered the developments that had taken place since the last time she’d spent a night with him or, worse, that he might not have considered them at all. Now here she was with Holy Terror in her immediate future and the Motel beyond that, and all she wanted was her bed at home.

“This one is interesting,” said her father, who had calmed down since seeing a sign identifying the place as Greene, North Dakota. “The guy from Nukewatch told me that he was here when they planted it, and the farmer who owns the field was so horrified, he put his farm up for sale the next day. He thought it was going to be a batch of dynamite or something, not a forty-ton intercontinental ballistic missile!”

Ange pressed her lips together and nodded her head to indicate impressed surprise, but the truth was that measurements like this meant nothing to her. A ton, a kilometer, an acre — she was incapable of conceptualizing such abstractions. The world, to her, consisted only of the known, which had dimensions that could be seen and felt, and the unknown, which did not. Travelling through the prairies with her father, she had no sense of north or south or of what distance they were from Souris, let alone from the U.S.S.R., a place that occupied a dark corner of her imagination along with various other things so often discussed but never experienced, such as World War II and the nucleus of a cell.

Sex had occupied that same strange space in her psyche, casting its glow over all of the frightening things that dwelled there, until she’d allowed James Betker to finger her in the back of the school bus and then, two weeks later, let Matthew Cain take her to his hunting camp. “You taste like a peach,” Matt had said when they kissed on the dank futon under a lamp in the shape of a miniature guillotine, and although she’d found it unoriginal and somewhat comical, she had liked it. Feeling suddenly playful, she’d said, “I’m freezing” and moved his hand to her erect nipple, then, when he tried to take off her shirt, she’d jumped off the couch and said, “Let’s light the wood stove!” in a voice so foolishly childlike it made her blush.

Hurrying over to the stove, she had felt him pursuing her, but not in the way that she wanted him to. When she bent down to open the filthy glass door, he had grabbed her from behind and pressed his erection into her left butt cheek, and when she had turned to him looking pained and confused, he’d said, “You’d better be ready to finish what you started.” All at once, with a sickening disappointment that felt somehow familiar, she had discovered that she had no choice about what happened to her, and that the promise of power and something like glory that sex had once extended to her had proven, like everything else, to be a miserable lie.

When they arrived at Holy Terror, it was almost dusk, and the corn hissed like a field of punctured tires. Ange and her father got out of the car and approached the site in silence, her father heading straight for the sign that read, Warning: Restricted Area. When they got close, they heard the mechanical whirr of the security camera over the hum that came from inside the fence. “Hey,” her father said, waving. “We’re on Candid Camera.” He moved toward her to parody a happy family pose, but she stepped aside and gave both him and the camera a stiff smile as she stared at the concrete slab through the metal links.

The cold wind ruffled her windbreaker and made the fence shake. She could feel her bra coming undone in the back, and she found that she had the same feeling she used to get as a child when she had to call her mother in the middle of the night to pick her up from a sleepover. Some small thing, like bumping into her friend’s dad on her way back to bed from the bathroom, left her feeling shamefully exposed, caught in an act that was meant to be private.

He had brought the guidebook with him, and he opened it and showed her the page. “This is what it looks like under there,” he said, pointing to a heavily marked diagram of something that looked not unlike the things she’d seen Wile E. Coyote light with a match in Road Runner cartoons. “That thing is forty times more powerful than the bomb that was dropped on Hiroshima. Can you imagine?”

What she had understood so far was that the concrete slab was a lid, under the lid was one of a thousand missiles that were buried under farmers’ fields across the prairies and aimed at the Soviet Union, and because of this they were all sort of doomed. When they’d first set out that morning and her father had begun his lecture, Ange had asked a few questions, such as how do missiles know where they’re going without someone driving and what if they hit a bird or a plane on the way, but after a while, she felt so impressed that someone had figured all of this out and so stupid for knowing so little that she just sat quietly and tried to react appropriately to what her father said without giving away too much. Specifically, she wanted him to think that she cared about the missiles without offering any accompanying indication that she cared about him.

“Just one of these could destroy an entire civilization in a second,” he said.

She made a concerned face. Of course he wouldn’t expect her to sleep in the same bed as him, she thought. There was no way he was that clueless. But even sleeping in the same room would be unbearably awkward and awful.

“And of course the Russians have missiles too. Can you guess where they’re aimed?”

She waited to see if he would answer his own question, as he often did. “Where?”

“Think about it.”

“I don’t know. Washington?” She knew that there was a D.C. and a state, but she didn’t know the difference and thought it was too late to ask.

Her father laughed. “No, they’re aimed right here where we’re standing, and if it happens, the prevailing winds would take the fallout directly northeast of here. Do you know what that means?”

“No.”

“Think about it.” She pretended to think about it until he told her the answer.

“Winnipeg would be wiped out, and we’d all get lethal doses of radioactivity. The Pentagon tries to pretend they’re here to protect us, but really they’re turning us into a human sacrifice to protect the big cities. Can you believe that?”

“I don’t know.”

“Well come on,” he said. “What do you think?”

She shrugged and wrapped her arms around herself, feeling miserable that the only thing she had to look forward to was an even more unpleasant scenario than the one she was currently enduring.

“I’m interested to know your opinion. Can you tell me your opinion?”

“Well . . . who has more, them or us?”

“It doesn’t matter, Ange. We have enough to wipe each other out. There’s no remainder, if that’s what you’re thinking.”

“Okay, so I guess . . . like, I hope it doesn’t happen,” she said.

“But doesn’t it make you angry?”

“I guess.”

“And do you think there’s anything you can do about it, or do you just want to wait and see what happens?”

“I don’t know,” she said.

“I guess, I guess, I don’t know.” He tensed his mouth and moved his head from side to side. “You don’t care, do you?”

She said, “I guess not” at the same time as he was saying, “You sound exactly like your mother,” then she turned and walked back to the car.

In Mohall, they ate pizza in silence, and she used a fork and knife instead of her hands. Afterwards, they made the short drive to the Motel, and her father’s knuckles were white on the wheel. “I’m sorry, okay?” he offered. “There are a lot of things that you don’t understand yet because I’ve never been willing to drag you into all that grown-up stuff.” He was quiet for a moment, then continued, “You know, your mother always cared more about outfits than anything we were trying to accomplish, and it’s because of people like her that it all went to shit.”

Ange looked out the window at a group of boys picking squashes and putting them in canvas bags slung over their shoulders. She thought about what her mother had said once: “Ever since you hit puberty, he turned on you. It was like he didn’t trust himself around you.” Ange knew it wasn’t true and that her mother had said it purely out of spite, but it had planted a seed, and that was all it took.

“What I mean,” her father said, “is that it’s not your fault.”

The outside of the Motel was the most dreary thing Ange could imagine. The parking lot was empty apart from an old blue pickup, and there wasn’t one person in sight. The radio was on in the truck, and country music blared out of its open door over the sound of an argument in one of the units. Ange decided to follow her father to the office so she could find out what the sleeping situation was before she was confronted with it in the room. As they walked, she tried to make out some of the argument, but all she could hear was a woman screaming, “No! This is bullshit!” again and again.

In the office, there was a ginger cat on the counter, and Ange stroked its fur while her father spoke to the fat man behind the desk.

“Sign here,” the man said before bending down with a loud groan and reappearing with a set of keys.

“You’re in number twelve. License plate number?”

“Why do you need that?”

“I need it if you want to park outside your unit.”

“Do you have paper and pen?” her father asked, clearly annoyed. The man pushed both across the desk and Ange’s father left without looking at her.

“He likes you,” the man said once Ange’s father was gone. “He doesn’t let anybody pet him normally.” Ange scratched behind the cat’s ears and under his chin. “What’s your name, honey?” the man asked. Ange could feel him scrutinizing her tits. People thought they had a right to do that. Everyone felt free to comment and stare.

“Ange,” she said, pronouncing it the way the kids at school did, not Ahnj, as her mother said it.

“You enjoying your holidays with your daddy?” the man asked. Ange moved her hands to the cat’s rump, digging her nails in and massaging above his tail. The man leaned forward and his voice became confiding and soft. “He is your daddy, isn’t he, honey?” he said. Suddenly Ange understood what he was getting at, but in an instant her outrage disintegrated against her will into tears, which fell down her cheeks with the fat man watching, so that she had to run out of the office like a fool.

“Hey, where are you going?” Her father, who was on his way back into the office, called after her as she walked away from him down the row of numbered doors.

“To find the room,” she said, furious beyond all reason. She had no patience for tears. When her father went to live in Regina, her mother had cried for what seemed like years. Ange had felt her mother’s crying in her guts. It tugged like a fish hook in her, and she went toward it not out of love but out of fear of being ripped apart. She would find her mother in her bedroom or in the closet or in the basement, and she would kneel next to her and stroke her hair and say, “It’s all right. It’s ohhkay,” until her mother stopped or fell asleep.

It took him so long to come to the room that she started to wonder if he had driven off without her. She had been sitting on the concrete stoop outside, swatting at bugs attracted by her blood and the fluorescent lights. He was silent as he opened the door and as they both went inside, but she could tell that something was wrong. She barely had a chance to notice that there were two double beds in the room before he spun around to face her.

“What the hell is wrong with you?” he shouted. “That man thought I was some sort of criminal.” His face was red and spit spattered his lips. Part of her wanted to laugh, because she had never seen him so out of control. “Do you have any idea how embarrassing that was for me?” She kept walking toward the bathroom, planning to lock herself in and make a bed of towels in the bath, but as she passed him he grabbed her hard around the fattest part of her arm and turned her around so they were face to face.

It was the first time he had touched her in years, but it wasn’t his roughness that made her feel violated, it was the intimacy of his hand against her bare skin. Feeling an urgent need to reverse what he had done, she leaned forward and bit into the soft flesh of his shoulder. Her teeth almost penetrated the skin before he socked her on the right side of her head and she fell, ears ringing, onto the brown carpet.

When she opened her eyes, she was lying on her side, her cheek pressed into the disgusting carpet. Her father kneeled down and she covered her face, expecting him to hit her again, but instead he tried to move her hands. She started to turn on her belly to get up, but he grabbed her around her waist from behind. They struggled on the floor. His arms reached around her on both sides, and he grabbed his right forearm with his left hand over her chest. He wound his ankles around her legs to stop her kicking him.

Her cheek was stinging and hot, and warm liquid leaked out of her nose and into her hair. An opened safety pin had stabbed her right shoulder, and she could feel it working its way in rhythmically with her sobs. The sound of her own crying infuriated her, but there was nothing she could do to stop it and trying only made it worse, so she gave in and told herself that everything was totally ruined. She couldn’t stop crying and she couldn’t make him let her go, so she just lay in his arms and thought about being ruined until he lifted her onto the bed and rocked her to sleep.

When she woke up it was morning. Her face still ached, and her head felt heavy. She could hear him in the shower. She tried to sit up, but when she lifted her head she discovered that it was stuck to the stiff orange top quilt, the one that her mother had always told her to remove before sleeping in a hotel bed because they were never washed. She slowly peeled the quilt away from her face and turned to see that the other bed was still made.

She stood and went over to the wardrobe mirror. One side of her face was bright pink, and there was dried snot caked under her nose. She undid the top two buttons of her shirt and lifted one sleeve over her shoulder to see where the safety pin had stabbed her. The tip had punctured her skin just below the shoulder blade, but it was easy to pull out, so she just refastened it through two loops in the strap of her bra, did her shirt up, and pushed hard on the place where the pin had been to soak up any blood in the flannel.

It was weird how okay everything felt, even with the bathroom door about to open and not knowing how her father would behave. She sat on the bed and waited, and when she got bored with waiting she turned on the TV and flipped through the channels.

When her father came out of the bathroom, he was holding a steaming face cloth. He offered it to her, and she pressed it to her cheek. She thought he looked like a little kid who doesn’t know what to do, and she felt sorry for him, but the feeling was different than the one that had made her agree to the trip. He watched her dab her face with the face cloth, and then they both silently packed up their things and took their bags outside.

“Do you have the guidebook?” he asked as she climbed into the car. She closed her door, opened the glovebox and showed him the book, then put it away again. When both of their seat belts were on, he lifted her hand from her lap and squeezed it in his until it almost hurt. They stayed there for a minute, staring at the grimy white vinyl exterior of the motel, a heavy pulse between their fingers.

As they drove home, they passed the squash boys again, and she waved to them, but they didn’t see her. Then came two fields of wheat, one on either side of the highway. There was more wheat there than she had ever imagined was possible. It went on and on. There must be enough to feed the whole country, she thought. There must be enough, probably, to feed the whole world. And to think that there were people who knew how to harvest it and turn it into flour, and other people who knew how to turn flour into bread. How clever people were, she thought, and how much there was of everything.

The Writing Life on the Road: Nayomi Munewera’s Oakland

Electric Literature’s contributing editor Michael J Seidlinger is on the road as part of his project, #followmebook, visiting writers and exploring the limits of social media. As part of a limited summer series called “The Writing Life on the Road,” he’s sharing his conversations with writers he encounters as he makes his way from New York to California. This week, writer Nayomi Munewera, shares details and insights from her writing life in Oakland, California.

What follows are highlights from Nayomi’s interview with Michael. Her responses have been edited for clarity.

Setting the Scene: Coffee-shop life

We’re at the Arbor Café in Oakland, California. It’s right around the corner from my house. It’s in a neighborhood called Temescal. It’s a big, beautiful café — there’s lots of people here, probably also writing novels. This is like my second home. I almost feel more at home at this café, because this is where I spend more time writing. If I’m home, I’ll just start reading, or doing something else, cleaning up, but here everyone is working, not a lot of people talking. The music is loud today but that’s not usually the case.

The Creative Process: Honing in on Obsessions

I’m not a word count person. I understand word count, but the way that I think about books is page count. So I’m working on a third book — I have two out — and my process has always been generating an idea that I’m really interested in, where I think ‘Okay, I can be obsessed with this for 3–5 years.’

For the third book, I remembered that my dad used to bring True Detective magazines into the house all the time during my adolescence. It was really weird, because we were an immigrant family that had a really nice home in the suburbs in LA and then there were these pictures of victims and bodies that would be on our living room table. This is totally interesting, obsessive in a different reality than what I’m living, and I think that kind of thing filters in and turns into an obsession later. So my process is to find an idea, and then a character, that will intrigue me enough to stay with me for a very long time. Then I’ll try to generate 300–500 pages. And it doesn’t matter what it looks like. It’s just about getting it out.

There’s some planning. A lot of it is intuitive and gut. For the second book, I was writing towards a certain event. The second book is about this woman who commits a terrible crime. That one I was writing towards the culminating scene where she does this horrible thing. I knew where I was going , I just didn’t know how I was going to get there. It’s just a big, ugly, messy thing.

My process has always been generating an idea that I’m really interested in, where I think “Okay, I can be obsessed with this for 3–5 years.”

Finding the Right Time and Place to Write

I think just getting in the chair and being like ‘this is the time.’ There has to be coffee. Black coffee. I’m from Sri Lanka, and there you drink tea with like 5,000 spoons of sugar. I feel like in the past writers have had more rituals and that’s been more important. My writer friends don’t really rely on those things anymore.

I have ear plugs, because this café can be really loud. I really admire these writers who can write anywhere at any time. I heard this interview with Roxanne Gay and she said she writes on the plane. How amazing. I really am so envious of that. I am not a person that can do that. I guess a ritual is being in a place like a café. I can write with other people. I have a couple of other writer friends and we just get together; we don’t talk, just write. There’s something about the community of that. It’s very solitary but we’re in community, and that feels nice.

Author Nayomi Munewera.

Online Community: A Network of Endless Support

There are some people who are very anti-Facebook because it doesn’t feel good. I fucking love Facebook because it connects me with so many writers. My feed is pretty carefully curated to have a lot of writers. I don’t really have much of a separation between my personal and public life, but I have a lot of writers on Facebook. So I can say things like ‘What’s the best book out this month?’ and then there will be like 40 or 50 comments, and that’s great because you get to promote a book you love and it’s a tremendous way to get connected with people. I was just telling you about this book, The Fact of a Body, that came out and I posted about it, and then the writer posted on the thread. This was unthinkable 10–15 years ago. Then she and I had a private conversation about how we should write this piece talking about male writers who don’t read women writers. That conversation can happen on social media immediately and within minutes in a way that really connects us. And it’s immediate. You send it out and you don’t know who is going to comment but somebody might, and you might get an article out of it or you might get a novel idea out of it. My third novel, the idea came because a friend of mine posted this short story she wrote based on this place I got intrigued by. I researched it and was like, “shit, this is my novel.” That came from fucking Facebook.

Another thing I love about the online community is seeing people get stuff. People that have been struggling get an essay out, somebody finds a publisher or somebody finds an agent. You see them grow. I’ve been in a community with this person for years and now their book is coming out, and I got to see that in real time. That’s really beautiful, and I feel like almost every week one of my Facebook friends is doing some crazy shit. There are these circles of writer communities — people you actually hang out and write with and are friends with. Then there are the people you know from their book and maybe they blurbed for you or you blurbed for them. Then there are people you meet at writing festivals, residencies, someone you met once. We’re literary citizens. We were probably all those weird, nerdy kids that were in the corner reading a book. I have affection for those people.

We’re literary citizens. We were probably all those weird, nerdy kids that were in the corner reading a book. I have affection for those people.

The Writing Life on the Road: Noah Cicero’s Nevada

Face-to-Face Community

I have a writing group right now. It’s two South Asian writers, and we hang out at least once a week and write. Again, we try to talk. Sometimes it turns into a gossip session for three hours. We try to just say we’re going to write from this time to this time. It’s great, it keeps us accountable. We don’t share work, which I really appreciate. It’s very liberating. There’s no judgement or weird anxiety around it. (My husband is my first reader, and then it goes to my sister, then to others — they know how to edit me in a way I don’t think other folks do.) The writing group is more about carving out the time and space, more than sharing work. That’s nice, because it’s a lonely life.

‘I Was a Witch Because People Hated Me & No One Knew Why’

“If you’re a girl & you want to be heard / Then maybe have a demon flap your gap,” suggests James Gendron in his book of narrative poetry, Weirde Sister. In a seven-chapter story in verse, Gendron assumes the voice of a woman who was accused of, and ultimately executed for, witchcraft during the witch trials of the early modern period. As history is narrated by those who survive it, and the powerless rarely get to dictate their legacy, Weirde Sister is a crucial act of bearing witness.

The book grapples with “the arbitrary / Network of intersectional oppression / Known as Early Modern Europe,” rendering an historic atrocity with universal urgency. Serving as testimony submitted over three centuries after the trials, it is both excavation and exoneration. And while fascination with witch hunts may have timeless appeal, Weirde Sister is also a timely appraisal of the present moment. Gendron injects a politics of eternity into the dark heart of the story, which pulses with the abiding truth that “humans are capable of such / Inhumanity it doesn’t really seem inhuman.”

Gendron injects a politics of eternity into the dark heart of the story.

As expressed in his acknowledgements, Gendron conceived of Weirde Sister “in solidarity with every person whose mere existence terrifies the powerful.” Indeed, the book is driven by imaginative leaps of empathy. Gendron’s narrator speaks from the margins with sensitivity and sincerity, claiming: “I was a witch because / People hated me & no one knew why.” When she first signs a contract with Satan, she is merely grateful for the attention and care the deity pays her. Her observations are inflected with a sense of bewilderment at the evils of the world, even as she acknowledges that her own precarious position within it is interpellated by state and social systems of power. She defends Satan as misunderstood, blameless in the ordering of the world as we know it:

“See this world is what is evil
Here where they push the kid
With the lice down the stairs
Where torture is not confined
To the realm of genre fiction
But undergirds the apparatus of state power”

It’s this same world order that allows the tourist economy of Salem to thrive on spooky sensationalism, willful amnesia glossing over histories of genocide and state violence. Gendron is clear about his own complicated interest in the Salem Witch Trials, explaining in the book’s preface that as a child he “felt normal in Salem because [he] was weird everywhere else.” The solace the place can provide is due in part to the town’s hokey Halloween infrastructure — what Gendron calls the “spooky-industrial complex” — which has of course arisen from a real tragedy.

Yet Gendron wonders if perhaps it is still better to be mocked than to be forgotten, pointing to countless other atrocities never commemorated. To this day, no one knows what was done with the accused witches’ corpses. The exact location of their deaths was only confirmed in 2016, and almost too perfectly, the site now abuts a Walgreen’s. These are the kinds of juxtapositions Gendron highlights and plays inside, creating fresh absurdities by confounding the old world with the new. Exhuming the witches’ memories in a sort of modern drag, he recontextualizes the trials in order to restore the human suffering at the story’s core.

Perhaps it is still better to be mocked than to be forgotten.

Gendron is at his most searingly lucid when exposing the arbitrariness of power and the pain it inflicts, though he is careful that Weirde Sister does not read like a treatise. Amid gruesome descriptions of bodily and emotional trauma appear aphoristic snatches of truth such as “The law too nakedly / scaffolds the halls of power” and “Men always think their feelings are your fault.” Such sharp observations are buttressed by a wry, winking sense of humor. The witches sleep on “cattresses” while ale becomes “the beverage of choicessity” and Satan “jots down new ideas for STDs.”

Satanism itself is treated as a sort of liberation theology, solace from the omnipresent threat of Puritanical violence. It seems the natural choice to take delight in the perversity of Satan over that of persecution. And Gendron’s delight is contagious, as when he writes, “Roll every tattoo in history into a ball / And light it on fire: / That’s just one grain of sand / On Hell Beach, baby / A beach where suffering is / Considered totally worth it.”

Gendron sometimes approaches this suffering slant, with a smile. Other moments of the book ring out with the intensity of their contemporaneity. Is it possible to think of witch hunts in 2017 without also conjuring the image of an American president who targets his country’s most vulnerable populations, even as he cries that any basic scrutiny is a “total witch hunt”? There is intrinsic value in reexamining the systems of power that allowed for three centuries of witch hunts, which “claimed an estimated 50,000 lives — a world-historical tragedy of which the Salem Witch Trials are but a late and geographically remote aftershock.” Perhaps the aftershocks are ongoing. Gendron’s consideration of a past tragedy is also a dark mirror for the modern world:

“Women can now be tried & even executed
For a host of crimes of a primarily sexual nature
A highly ambiguous sign of progress
And this right to be murdered by the state
Even accrues to children in cases
Of petty theft & animals convicted
Of involvement in acts of maleficent witchcraft
Highlighting the paradox that equality
Under the law often begins with the
Universalization of heretofore selective
Forms of oppression, the opening of new
Horizons in disenfranchisement
And the inequitable widening of the path
Into the graveyard”

If Weirde Sister’s critical lens reflects poorly on humanity, it does so in the most humane spirit, like a plea for improvement. Or as Gendron writes, “This is not an anti-human feeling / This is a feeling of wanting to protect humans from people.” As new horizons in disenfranchisement open up, Weirde Sister is a call to action, a necessary reminder that everything old is new again.

The Video Game That Shows Us What the E-Book Could Have Been

By now, we’re all used to the idea that books don’t have to be physical objects of ink and paper — but with only a few exceptions, our digital books behave almost exactly like our old-school ones. Yes, you can change the print size of an e-book, or look up a word instantaneously, but on the whole, reading a digital book is effectively the same experience as reading a physical book in a slim plastic shell. Our e-books are almost always electronic versions of our print books, and our e-book readers are often designed to mimic the print book experience as closely as possible. I love my Kindle, but it doesn’t really feel like a quantum leap over the shelves and shelves of printed books that I still own and read.

After all, it isn’t meant to. A printed book is one of the first technologies many children learn how to use, but it’s still a technology, and once we’ve mastered it most of us don’t appreciate being asked to figure out how to read all over again. This one of the reasons why books that experiment with form, whether digital or print, tend to sell rather poorly. No matter how radical the content, we are conservative about the structure of our reading.

A spiral staircase in ‘Device 6.’

For a vision of a more daring alternate future for digital reading, though, we can look instead at a game. Device 6, a 2013 mobile/tablet game by Swedish developers Simon Flesser and Magnus Gardebäck, lets the reader encounter and explore text in a format unfettered by the demands of the printed book, giving us a peek at what the rewards of pushing text a bit further in the digital era could be.

As a story, Device 6 reads like W. G. Sebald writing an episode of The Prisoner. As a game, it plays like a version of the 1993 CD-ROM classic Myst pared back to its essentials. (In Myst, you spend your time exploring parallel universes at the behest of two mad brothers who are trapped inside books; in Device 6, you’re exploring inside the book yourself.) But as a book, Device 6 is something altogether new: a vision of what the printed word could be when set free from the prison of a static page. And Device 6 doesn’t just gesture towards an imagined lost future of digital reading — it’s also a commentary on what books mean in the present. It brings us face to face with the reality that every book, printed or digital, is not just a record of language or the conveyance of an idea but a construction of a particular space.

Like most electronic text (though not, interestingly, like e-books), Device 6 invokes not the codex book but the scroll: it features a single extended written surface rather than a series of discrete pages. While readers who spend a great deal of time online will find this immediately familiar, it’s also a canny physicalization of the story’s action. The protagonist, Anna, inexplicably awakens in a mysterious mansion and must explore its rooms and halls, a journey that the reader experiences through scrolling text that labors to mimic the mansion’s sprawling layout. That is, when Anna turns a corner, so does the text.

As Anna’s paths lead her back and forth within the mansion, the words of the story itself reflect her varied motions.

This can, in a still image, become a bit complicated.

In motion, however, this multiplicity of direction is much more intuitive. In the image above, the reader can follow the arrow and scroll the story to the left (well, the right, as I imagine most readers would, like me, rotate the screen rather than trying to read upside-down), or she can instead imagine herself turning into a different hallway and scroll the text down instead.

But while the experience of reading Device 6 resembles unrolling a parchment scroll and discovering foldouts pasted into the main body of the text, leading in unexpected directions, Device 6 is not in fact a parchment scroll, and whether it can be considered a book depends a great deal on how far one is willing to stretch that particular category. I’m not sure Device 6 should be properly described merely as a “video game” — in part because of the stigma that label can carry, and in part because I’d like to try to break down the walls we tend to build in our media consumption and consideration. (We all know that we “play” games and “watch” films and “read” books and “listen” to music, and that conventional wisdom tends to let boundary-breaking media, like games you read, fall through the cracks.) But at least part of what makes Device 6 work is its very gaminess.

The experience of discovery and revelation, described in the text, is reinforced by being enacted by the reader.

While Device 6’s story is primarily textual, and the movement through its spaces is guided and shaped by its manipulations of that text, it also requires the reader to solve a number of puzzles to open new spaces, and these puzzles largely play out through sounds and images. Like Miss Peregrine’s Home for Peculiar Children, Device 6 places black-and-white images among chunks of text to help build its eccentric imaginative world — but freed from the permeance of the printed page, the images in Device 6 shift and change. These dynamic visual and aural elements, as well as Device 6’s textual direction and manipulation, are made possible by the specific code-driven environment of a mobile app executed on a mobile device. And the experience of discovery and revelation, described in the text, is reinforced by being enacted by the reader.

At one point, Anna dons an electronic mask to make an invisible bridge visible through words.

Of course, neither that sentence nor even an animated gif can really capture the experience of discovering the invisible bridge. Following the text from left to right, the reader discovers the electronic mask after unwittingly passing the location of the bridge. When she puts it on, the visual landscape changes immediately, like looking through a sheet of red transparent plastic, but the reader must discover the extent of that change — including the bridge — on her own. In order to discover the bridge, the reader has to retrace her steps back into the text, moving against the flow of the words while wearing the electronic glasses in order to discover a new path that quite literally wasn’t there before.

In a sense, this is like turning back to an earlier chapter and finding that it reads differently than it did the first time, not just because it exists in a new context as a result of later chapters, or because something has changed within the reader herself, but because the words on the page have altered themselves for their own purposes. Books from Martin Amis’s Time’s Arrow, which narrates its story in reverse, to Choose Your Own Adventure novels have experimented with asking the reader to move through its pages in manners other than the conventional left-to-right, beginning-to-end—but by creating the ability for the text itself to respond to conditions created by the reader, the tools of digital games expand those possibilities dramatically. It’s as if the earlier chapters in a book developed new words and sentences and had to be revisited after a later chapter revealed some crucial piece of context.

This is like turning back to an earlier chapter and finding that the words on the page have altered themselves for their own purposes.

Participation is a powerful mechanic, and Device 6’s game nature makes the experience of exploration and revelation feel visceral in a way that merely reading about exploration struggles to match. In a book, the sentence “Anna put on the mask and discovered a bridge” can cause a feeling of triumph in the reader, but there’s something no less than magical in achieving it yourself.

Even as it makes use of game elements to go beyond the book experience, making it more immersive and reactive, Device 6 also illuminates fundamental aspects of the book that usually go unnoticed. One of the primary tasks of a video game is to create a space in which the player overcomes obstacles in order to reach some sort of a goal. Games may accomplish this through the creation of a two-dimensional map (think Pong, Pac-Man, or nearly any board game), or by repeating a series of pixels again and again with some minor variations, until it becomes a three-dimensional hallway. Device 6 uses text itself to create a space through which the reader passes, building upon but also replicating a set of tools that books tend to take for granted. Our use of these tools in a book — the syntax of motion across and between pages, in English left to right, top to bottom — is so ingrained as to frequently be invisible, but it’s there. Every book, every story, is a space through which we travel: one sound, one letter, one sentence at a time. Device 6 emphasizes and reconsiders this movement through text by making its words a map through which the reader is initially led, but which requires later that she retrace her steps back through the text into new, previously obscure corners.

Every book, every story, is a space through which we travel: one sound, one letter, one sentence at a time.

As in most media, there is a long tradition of books calling attention to their nature as media objects — Jonathan Safran Foer overlapping text in Extremely Loud and Incredibly Close until the page is nearly a solid mass of black ink; Bret Easton Ellis starting and ending The Rules of Attraction mid-sentence, itself an invocation of James Joyce’s Finnegan’s Wake; Cervantes making Don Quixote aware of the publication of his own adventures by the later chapters of his book. What is a bit more unusual is a book that dwells on the peculiar physical geography of textuality — think, say, of Gertrude Stein’s Patriarchal Poetry, in which Stein’s repetitions stretch the very possibility of visual tracking, forcing the reader to make physical contact — a finger, a pencil — to locate herself on the page. Only a handful of printed books do what Device 6 does: highlight, rather than obscuring, the way we move inside a text.

It is not accidental that we judge e-books for their success (or failure) in making the space and architecture of their text disappear into the act of reading. E-readers are praised when they make us forget that they are not books and criticized when they insist on presenting themselves as the objects that they are: blocks of text on a screen, navigated through gestures that never quite become unconscious. One of the essential tasks in literacy acquisition is the ability to move from decoding the building blocks of language — letters and words, syntax and grammar — to understanding the information and expression encoded within the language. Success is measured in part by internalizing the elements so thoroughly that they no longer require conscious effort. One level of proficiency is gained when the reader stops seeing letters and starts seeing words, another when the reader stops seeing words and starts seeing sentences, and so on.

Device 6, on the other hand, is able to point to the way books work by never quite seeking to become one. As a game that the player reads, Device 6 turns its text into a playful antagonist, and creates a set of rewards for the otherwise onerous demand that the reader continue to look at the text as an object in itself.

Sometimes a Rash Refuses to Heal

Cows

Usually they find
their way,
without
the farmer, without
the earnest dog
behind them.
When
they didn’t come
we rang the bell
and when
it was far past time
for milking
we left our places
at the table.
The coffee,
our beds — 
everything grew
cold. We called
the neighbors.
Weeks went by
and while we
waited
we painted the barn
red to attract
attention.
And cleared
the field of stones,
and with them
built a church
to house our grief.
That was before
we knew
it could never
be contained.
The universe
takes its time
as the moths
eat the sky
into our sweaters.

Last Seen

When I was a girl a man in an elevator told me
monkeys pull the cables that move us
floor to floor. He didn’t know

I was connected to my body by a string.
Every night my balloon tangled
in the low forest of sleep

while a bear roared. He pushed the wind
out of his way, one claw snagging my shoulder,
a cave in front of me. To lose the bear
I disappeared into a world so dark

it held only blind things, and the sound

of a hill accumulating nearby.

Movie of the Week

The missing boy’s voice is in the static
on the phone. His family swallows the days,
bloody their heads against glass doors
without remembering. Sometimes a rash
refuses to heal. Sometimes nightmares
leave marks, blackened shells where the eyes were.
With plywood and screws they seal themselves
inside the house. They do their best, as if
they could be saved from the thing by looking
sideways — the ringing not already in them.

Bones in Birds, Weakness in Poetry, Murder in Kansas

People Keep Putting Hidden Anti-Trump Messages in Their Resignation Letters—Here’s Why

O n Wednesday August 17th, all 17 members of the President’s Committee on The Arts and The Humanities resigned their posts, citing President Trump’s equivocation regarding white supremacist demonstrations in Charlottesville, Virginia. The resigning members stated in a co-written letter that “speaking truth to power is never easy, ” but that “supremacy, discrimination, and vitriol are not American values.” Embedded in the statement, addressed directly to the commander in chief, was the word “RESIST,” spelled using the first letter of each paragraph.

While it’s no surprise that a committee convened to advise the president on cultural issues would resort to a somewhat obscure literary form to hammer home their disgust, the humanities committee wasn’t alone in coding its resignation letter for maximum impact. Daniel Kammen, one of seven science envoys working in the State Department, resigned his post August 23rd with a letter that used the same method to spell out the word “IMPEACH.”

Neither letter is shy about criticizing the current administration’s choices to gut arts funding, back out of measures to reduce the effects of climate change, or endorse the actions of white supremacists, so why bother hiding these messages to “RESIST” or “IMPEACH” in the first place? The President has a reputation for barely reading what he signs into law, which likely disqualifies him from enthusiasm about close-reading anything, let alone reading as a mode of confronting his own vocal critics. Perhaps the committee members and Kammen are aping Trump’s own declarative style, subbing in their own one-word pronouncements in summation of their experiences the same way the president uses “Sad!” as punctuation for his ubiquitous Twitter tirades. Regardless of their inspiration, the acrostics in these letters act as powerful distillations of their overall content, acting as a call to arms for anyone who finds themselves frustrated with the man in charge of the country’s future.

The acrostics in these letters act as powerful distillations of their overall content, acting as a call to arms.

Acrostic poems are a form of constrained writing as old as the Bible, appearing especially frequently in the Psalms and the Book of Lamentations. The Roman poet Publilius Optatianus Porphyrius wrote to Emperor Constantine in acrostic to beg to return from exile. In medieval times, acrostics would often spell out the name of an author’s patron. The Dutch national anthem “Het Wilhelmus” contains the name of William of Orange, also the subject of the poem. Acrostics as a literary form have great steganographic potential, since the hidden word being spelled out is only apparent to an observant reader seeking a secondary message in addition to the one readily apparent on the page.

Enterprising writing instructors sometimes use acrostics to demonstrate how poems can explicitly embody their subjects, arranging the components to literally spell out what might otherwise be merely implied. Lewis Carroll’s acrostic poem at the end of Through The Looking-Glass spells out the name of its muse, the real-life Alice. William Blake uses acrostic in the third stanza of his poem “London” to spell out “HEAR,” asking his reader to come as close to the sounds of the city as someone experiencing them in real time. The Academy of American Poets describes the form as a kind of poem that seeks “to reveal while attempting to conceal.” Acrostics overlap the concrete and conceptual, unifying them.

Recently it feels as though the concrete and conceptual have indeed collapsed into one another. Statues of confederate generals are no longer outdated monuments to disgraced secessionists but rallying points for those who wish to maintain political power as the exclusive domain of white men. What better time for the return of the acrostic to common use than this moment, when we hear constant exhortations from both sides of the aisle demanding we show the world what it is America truly stands for? Choosing the most effective way to condemn the president isn’t something his detractors can afford to be subtle about. Though the acrostic is a kind of coded language, in the letters it serves to underscore their message of refusal to remain complicit in the failures of the current administration.

In following the acrostic’s appearances in recent news, I see the requests I make of my own students: Stick to what’s essential to the story. Sharpen your language. Exploit the connotations of the words you tell your story with. Use the most active verbs available. I can’t help but see these resignation letters as an attempt to teach us the same thing. The verbs are strong, the grievances and motivations listed as plainly and powerfully as possible. “We know the importance of open and free dialogue,” the PCAH letter offers, later landing the same paragraph on, “Your words and actions push us all further away from the freedoms we are guaranteed.” To borrow some strong language from my boyfriend when we read the letter out loud at breakfast last week: “Fucking Jhumpa Lahiri coming in with a fastball.” There is no better example of sharpness or careful choice than being able to distill an entire letter to a single, unequivocal word.

Declaring dissent in public means making oneself vulnerable to being labeled reactionary. These letters predict and negate that accusation.

Declaring dissent in public means making oneself vulnerable to being labeled reactionary. These letters predict and negate that accusation. The presence of an acrostic is proof of how carefully crafted these statements are. It’s next to impossible that either letter stumbled into spelling out a refrain that sprang up in direct response to Trump’s election or the word for how our democracy might lawfully remove him from office.

Poems have always been political because of their ability to elevate a momentary experience or observation to immortality. They are flexible creatures that contain infinite space for examining whatever they choose to concern themselves with. A poem has as many layers as the poet imposes on it. Acrostics task a poet with explicating a single word in such a way that that word acts as a vessel for the worlds beyond it. The form exists as a tool for slowing down the meaning of a single word, then exploding its possibilities.

An acrostic that might inspire the next resignation letter. (Credit)

One example I came across in researching the history of political acrostics feels particularly aligned with the past week’s examples of the form. In 1949, when Newfoundland became a part of Canada, The Newfoundland Evening Telegram published a seemingly affectionate poem on the occasion of the departure of their British governor, Gordon Macdonald. But beneath the poem’s request that Macdonald “remember if you will the kindness and the love/Devotion and the respect that we the people have for Thee,” lay an acrostic that spelled out “THE BASTARD.” Bureaucracy often demands language with a certain level of decorum, but the acrostic made space for the farewell the people of Newfoundland would rather have offered, had they not been restrained by propriety. Calls to resist and impeach engage in the same bureaucratic decorousness, couching their extreme acrostic summations in the more restrained writing of the body of the text. The letters use the acrostic to turn that decorousness on its ear, making it impossible for anyone to mistake their message simply because they aren’t shouting it into a megaphone or carrying it on a sign at a protest.

Elucidating where you stand in relation to Trump, with his shall we say singularly lyric way of regurgitating his own rhetoric, is probably a poetic form unto itself at this point. The resignation letters engage in his game of coded buzzwords, reinforcing and re-contextualizing their own content via their employment of the acrostic. Carefully chosen language communicates on many levels simultaneously, and in these two instances it does so to great effect. Greater still is the contrast between the care for language the committee and Kammen show and the current administration’s extreme difficulty maintaining a consistent press secretary, a consistent stance on important issues, a consistency at anything besides inconsistency.

The letters’ care for language contrasts with the current administration’s extreme difficulty maintaining a consistency at anything besides inconsistency.

The current White House seems to throw out imprecise language on purpose so that it may revise on a constant basis, never committing its statements to a final draft. These revisions are often impromptu, inspired both by rhetorical circumstance and the audience of the moment. Extreme intentionality is antithetical to the Trump administration, making the acrostic form an especially powerful critical tool for those opposed to the president and his supporters.

Yoked with the responsibility of taking a strong stance against the dismantling of the arts and sciences as American institutions, people are turning to poetic forms as the best mode of denouncing Trump. It’s one thing to walk away from association with Trump and all his fumbling with a strong statement of disavowal, and I quite admire that action regardless of how it’s expressed. But to see poetry weaponized, so to speak, by those who are truly paying attention to how much of our democracy is unraveling is truly special. Trump seems to be counting on the public not noticing what he’s accomplishing behind a curtain of performative incompetence. Maybe it’s best we spell it out for him: he’s underestimating the arts as a tool for change.

13 Tennis Books That Weren’t Written by David Foster Wallace

Every year, at the start of the U.S. Open—the final grand slam of the year, held at the Billie Jean King National Tennis Center in Queens—newspapers and magazines and the internet recommend books about tennis. But year after year, the same white male writers appear on those lists: David Foster Wallace, Martin Amis, John McPhee, Vladimir Nabokov.

I adore Wallace’s seminal essay, “Roger Federer as Religious Experience,” first published in the New York Times Magazine and anthologized in String Theory. I think McPhee’s Levels of the Game, an account of the 1968 match between Arthur Ashe and Clark Graebner at Forest Hills, is a classic. But I often long for tennis writing that’s a little less dude-bro, you know? If you’re looking for more of a Serena Williams vibe than a John McEnroe, here are 13 books — narrative nonfiction, memoir, mystery, romance, picture book — to read during the tournament.

1. Days of Grace by Arthur Ashe and Arnold Rampersad

Days of Grace traces the final years of this champion’s life — Arthur Ashe was the first Black man to win singles’ titles at Wimbledon, the French Open and the U.S. Open — and reflects on sports, race, patriotism, family, and terminal illness. Co-written with Arnold Rampersad, who “defined the field of African-American literary biography” and is known for his works on Langston Hughes, W.E.B. Du Bois, and Jackie Robinson among others, Days of Grace is a courageous and honest narrative by an outstanding human being.

2. Martina & Chrissie: The Greatest Rivalry in the History of Sports by Phil Bildner, illustrated by Brett Helquist

I have a five-year-old with an interest in tennis — she watches Grand Slam tennis with me, and took her first lessons this summer — and she loves this one, with its brilliant acrylic-and-oil illustrations. Not only is this picture book detailed and informative, but it also covers both Martina Navratilova and Chris Evert’s on-court rivalry and their off-court friendship.

3. A Necessary Spectacle: Billie Jean King, Bobby Riggs, and the Tennis Match that Leveled the Game by Selena Roberts

In this journalistic account, New York Times columnist Roberts draws connections from 1973’s Battle of the Sexes, a “spectacle” between washed-up champion Bobby Riggs and tennis legend and advocate for gender equality Billie Jean King, to the rise of women’s sports since that match.

4. The Tennis Partner by Abraham Verghese

This moving memoir is about a relationship between two men who are deeply hurting: Verghese, a physician whose marriage has unraveled, and David, a student on his rotation who is a former professional tennis player from Australia and battling drug and alcohol addiction. The pair begin a tennis ritual and find true friendship and safety in a sport they love.

5. Sudden Death by Álvaro Enrigue, translated by Natasha Wimmer

The central narrative of this surreal novel by an award-winning Mexican writer is a fictional 16th-century tennis match played between the Spanish poet Francisco de Quevedo and the Italian painter Caravaggio. The ball is made from the hair of King Henry VIII’s beheaded wife, Anne Boleyn. Sudden Death not only tells the history of tennis, but also reimagines the Spanish colonization of the Americas; it is a brilliant and bold book.

6. 40 Love by Madeleine Wickham

I admit: I am a big fan of Sophie Kinsella’s Shopaholic series, having read the first two while stranded on the tarmac at Beijing Capital International Airport for nine hours during an unexpected snowstorm. In 40 Love, Kinsella—writing as Madeline Wickham—skewers the nouveau riche in a comedy of manners about a weekend “tennis party” in the English countryside.

7. The Tennis Player from Bermuda by Fiona Hodgkin

In this historical fiction novel written as memoir, “Fiona Hodgkin,” the nom de plume of an American writer, tells the story of her brief but eventful career as an amateur tennis player in the early 1960s. Bermudian teenager Hodgkin dreams of playing in the Championships at the All England Lawn Tennis and Cricket Club in Wimbledon, and finally gets her chance when a telegram (!) arrives inviting her to play. This light read is well-researched, and full of terms and techniques and historical references.

8. Citizen: An American Lyric by Claudia Rankine

This isn’t a tennis book, per se, but chapter two of this National Book Award finalist is a brilliant and arresting poetic meditation on tennis’ GOAT (greatest of all time), Serena Williams, and Black excellence in tennis—including racist public critiques of Williams’ body, her confidence, and even expressions of her joy. A companion New York Times Magazine piece is also a must-read.

9. Sudden Death by Rita Mae Brown

The famed feminist screenwriter Rita Mae Brown was Martina Navratilova’s ex-lover, and this novel is a total roman à clef. According to Brown, speaking to the Washington Post in 1981, “She just walked out on me.” The book follows the romance of Argentinian rising tennis star, Carmen Semana, and her devoted partner, professor Harriet Rawls, from the French Open to Wimbledon, and finds its emotional center when Susan Reilly, Carmen’s arch-rival and former lover, leaks word of Carmen’s relationship with Harriet to the press.

10. The Total Zone (plus Breaking Point and Killer Instinct) by Martina Navratilova and Liz Nickles

This trio of mystery novels stars retired tennis professional Jordan Myles, who solves a bevy of unbelievable murders at Wimbledon (Total Zone), the French Open (Breaking Point) and at a host of tournaments in the United States (Killer Instinct). Admittedly, the pacing is meh and the plots are zany, but the trilogy does reveal saucy details about secrets and sleaze on the women’s tour from one of the game’s legends.

11. The Love Game: Being the Life Story of Marcelle Penrose by Suzanne Lenglen

Lenglen was the diva of her day, and won 31 titles between 1914 and 1926. Her Edith Wharton-esque novel, set on the French Riviera, tells of the machinations of matches and match-making among traditional Victorian bourgeois woman. This entertaining novel features tennis, but also spurned proposals, engineered meetings, arranged marriages, and unrequited love; in Lenglen’s words, it is all “a great game.”

12. Tennis Shoes by Noel Streatfeild

Another children’s book, Tennis Shoes, one of the “Shoes” collection of adventures (Ballet Shoes, Theater Shoes, Circus Shoes, etc.), follows the hijinks of four red-headed Heath children, whose father and grandfather were top players, on their quest to win “a championship which no one of [their] age has ever won before.” It is a charming book about family and perseverance, and very funny if didactic in parts.

13. Love Game: A History of Tennis, from Victorian Pastime to Global Phenomenon by Elizabeth Wilson.

In this cursory history of tennis’ transformation from “provocative” pastime for “dandies” and women who felt constricted by Victorian mores to corporatized global sport, fashion writer and novelist, Elizabeth Wilson, examines the wider cultural landscape of tennis, rather than its point-by-point history and includes a solid account of modern day tennis’ many injustices — elitism, sexism and racism.

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

Buckle up, because this story is weird as all get-out. Yesterday, young adult writer and publisher Phil Stamper noticed a discrepancy on the New York Times bestseller list for YA fiction. Angie Thomas’ The Hate U Give, a wildly acclaimed novel (and soon to be movie) about a young black woman who becomes an activist after she sees police murder her friend, had been displaced by an unknown: something called Handbook for Mortals, by Lani Sarem, from the brand-new publishing arm of website GeekNation. And by “unknown,” we don’t mean a dark-horse phenom; we mean a book that literally cannot be bought from Amazon or Barnes & Noble, and yet somehow suddenly sold enough copies to not only make the bestseller list but debut at number one.

Here’s how Amazon describes the book: “Zade Holder has always been a free-spirited young woman, from a long dynasty of tarot-card readers, fortunetellers, and practitioners of magick. Growing up in a small town and never quite fitting in, Zade is determined to forge her own path. She leaves her home in Tennessee to break free from her overprotective mother Dela, the local resident spellcaster and fortuneteller.” The hardcover costs $19.13 and you can’t buy it.

Although “Lani Sarem” anagrams to both Mars Alien and Anal Miser, it is not a nom de plume: Sarem is an occasional actress, music publicist, and band manager—including, at one time, for Blues Traveler—who has apparently already tapped herself to play the lead in Handbook for Mortals movie. And she, or someone at GeekNation, is apparently also a skilled book list scammer. It’s not that tricky to buy your way onto the bestseller list if you just put in some huge bulk orders; it’s legal and not even that uncommon. (Becoming an Amazon bestseller is even easier.) But the Times adds an asterisk to any book whose sales rank is affected by bulk purchases. Sarem (or someone) seems to have gamed the numbers by arranging large buys—only from verified NYT-reporting bookstores—of just under the amount that would trigger such a caveat. That’s 30 copies at a Barnes & Noble, 80 at an indie store, so we’re talking about a LOT of orders. You really owe it to yourself to read the Pajiba article that collects all the tweets that crack the case.

In any event, Sarem is a better scammer than she is a writer. Author Sarah M. Carter got her hands on a copy of Handbook for Mortals, and in her words: “hoooo buddy.” Thanks to Carter’s sacrifice, we’re able to bring you some highlights, all of which are absolutely dreadful in an incredibly specific way that those of you with cherished Livejournal memories—or, really, anyone who wrote self-important fiction about thinly-veiled Mary Sues in high school—will find deeply, cringingly familiar.

I would describe this book in a similar way that I might describe Harrison Ford: it can definitely get fucked.

And also much like Harrison Ford, it is now not on the Times bestseller list. The paper sent out an email that declined to even name the offender, let alone explain why the list was changed:

Congrats to Angie Thomas, the rightful #1:

And congrats to Phil Stamper and other investigators for their tenaciousness, to Pajiba for doggedly staying on top of the most riveting publishing story we’ve read in ages, to Blues Traveler for getting rid of what sounds like a real liability, and of course to Lani Sarem for getting more people to read her Lani Sarem fanfic than ever before.

Finding Community at a Queens Bodega

By Amy Brill

Presenting the tenth installment of The Bodega Project, where authors from across New York reflect on their communities through that most relied-on and overlooked institution, the bodega. Read the introduction to the series here.


The walk to Tony’s, down Xenia Street in Corona, Queens, isn’t about the Pepsi or Doritos I say I need, or the milk or American cheese my mother sometimes sends me out for. The dim interior with its two crowded aisles, neon chip bags, array of snack cakes and obligatory slinking cat aren’t that compelling. It’s what’s going on outside that draws me. I can’t say what it’s like now, but in 1984, when I was fourteen and out on my own, that’s where the whole neighborhood hung out.

There were the girls — Lisa from The House, my best friend Claudia from next door, Mel and Michelle, Tracy whose mom made her eat cigarettes whenever she caught her smoking. But more enticing were the boys: John, Jay or his brother Ajay, Harold, Omar, Claudia’s older brother William. Without fail, some or all of them would be outside, flirting, talking a big game, sharing bags of Frito’s or playing box ball with a Spaldeen on the sidewalk nearby. The boys always wore tanktops and basketball shorts, were spotless and well-groomed. They always smelled like a mixture of cumin, garlic, onion, and deodorant soap: Safeguard, Shield, Irish Spring. Decades later, my husband, who was partly raised in Venezuela and partly in a Boston suburb, described that smell to me as “house.”

My parents, first- and second-generation Jewish-Americans, moved to the neighborhood in the early 1960s. They had only been married a few years. For them, the chance to rent an apartment with an eat-in kitchen, separate dining room, and terrace, was a definite step up from the crowded tenements of Crown Heights and the South Bronx where they’d grown up. We had to take the bus to get to the subway from our third floor walk-up, but at least we had our own bedrooms.

Every so often, when our parents were out, my brother and I would hook up a ladder and shimmy out through a panel blocking the skylight in the hallway outside our door. From there we’d emerge onto the roof, our sloping street stretching off in either direction, lined with other mother-daughter houses like ours, some in rough shape and others meticulously kept. The DiDonato’s place, Francine’s, the Museum (our name for the cement yard filled with plaster statuary, including cherubs, cavorting goddesses, and an actual bubbling fountain). A few doors down was The House, a multistory building beside the long driveway where my parents parked our car, that housed a swirling universe of cousins from the Dominican Republic who’d drop in and out of town every summer. Claudia and her brothers William and Oscar lived right beside us, one floor down. A ten-minute walk east brought you to Flushing Meadows Park, with its iconic unisphere and weedy lakes. Much closer was the Long Island Expressway, the whoosh of its cars backgrounding our days and nights.

Our street was never quiet, but in the summer the volume exploded from car radios and boomboxes, most of the music and conversation in Spanish or Spanglish, or a mix of the two. Si, si, voy a la bodega, pero I don’t know if it be open. Mi hermano esta buscando el parking. The neighborhood was dominated by Puerto Rican, Colombian, Ecuadorian, Mexican, Cuban, and Dominican families — especially Dominican. The beat of our childhood was to salsa, rumba, and merengue, punctuated by The Sugarhill Gang and Grandmaster Flash. There were salsa parties in basement rec rooms of nearby apartment houses — tables swooning under platters of arroz con pollo, black beans, and buñuelos — where everyone danced. Those sweaty, joyous events were as far from a bat mitzvah at a Great Neck social hall as I can imagine.

It was with the people that hung out at Tony’s that I experienced all the firsts of young womanhood. My first couple’s dance (salsa, with Manny from The House). First kiss (Harold, in Claudia’s closet, playing Seven Minutes in Heaven). First unwanted kiss (during a tickle fight with Omar, who was more my brother’s friend). First time I purposely struck anyone besides my brother (Omar, elbow to the jaw, ending said kiss). First fair-weather friend… First friend-in-need…

Like every kid in history I just wanted to blend in, but of course there were limits. I was a white girl in a predominantly Latino neighborhood, dubbed la blancita by a sweetheart named Juan whom I dated one summer. Nobody hassled me beyond a complete mystification about the fact that we didn’t celebrate Christmas, but I felt my difference. My father was a lawyer. We spoke English at home. We were Jewish. On the 4th of July, our family would escape the neighborhood in favor of the beach, driving back slowly after dark, the borough transformed into a warlike maze of flash and sulfur, spent firecracker paper drifting in the streets. Tony’s would stay open at least until midnight, supplying the neighborhood crowd with forties and rolling papers, Mexican soda and a place to meet.

Even if I wasn’t a hundred percent at home in front of my home bodega, that didn’t stop me from trying. For a brief period in middle school I made the ill-advised move of adopting an accent that sounded like my friends from the neighborhood. I only got as far as Claudia’s apartment. Immediately she’d narrowed her eyes: Why you talking like that? I tried to play it off — Like what? — but I knew she was on to me. I quickly stopped trying, thankfully before I got my ass kicked by someone I hadn’t grown up with.


My parents moved out of Corona in 1993, right after I graduated from college. I’m not in touch with anyone from the old neighborhood now — I didn’t see them much in the years I spent at university upstate. I don’t really sound like I’m from Corona; in fact, I hardly even sound like a New Yorker. Although I drive right past my old block probably once a week on the way to my mom’s apartment, I never get off the highway. Our old building is apparently a condo now, which I only know because I looked it up on Zillow. I doubt I would recognize anyone in the neighborhood now if I bothered to drive by.

Where I live in Brooklyn the houses cost well over a million dollars, although it wasn’t like that when I moved here in 1996. One of the first things I loved back then was how much the bodegas on Smith Street reminded me of Tony’s. Even after I started eating organic, and joined the Park Slope Food Co-op, I’d go out of my way to visit the ones that still felt old school. I relished being able to slide my money across the counter and say How’s it going? in my old voice, the way I used to. The way I would at Tony’s.

The internet coughs up photos of what Tony’s looks like today. The first thing I notice is that the awning now says “Luciano Grocery” — or maybe that was always there and I just don’t remember it. Either way, you’ll still find it listed as Tony’s Deli, the name the neighborhood knew it by, if you search for it online. Thankfully or not, nothing much else has changed. Unlike other bodegas in more gentrified parts of New York, there are no twelve-dollar wedges of cheese here, no kimchi, no cans of craft beer, no kale chips. The merchandise looks to be the same old, same old, just as I remember: Hostess, Delicias, Suavitel, Harina Pan, “Dominican Cake.” I don’t buy any of that stuff anymore (if I’m being honest, I’m more likely to get the kale chips).

The bodega I go to these days sits diagonally across the street from the apartment I rent in a leafy part of Brooklyn with my husband and two kids. It’s run by one of the nicest guys I’ve ever met, a Palestinian named Sam with whom I talk about parenting, Toyota SUVs, and the similarities between Arabic and Hebrew. He keeps an array of sweets on the counter, an impressive muffin shelf, and a sign proclaiming WE NOW HAVE LOX! in excited block letters. Sam and his brothers know us; Sam always asks about my mom’s health, and during the holidays he treats my girls to gingerbread. With my husband, Sam talks soccer, until I stick my head out the door wondering what happened to him and the ice cream or beer he stepped out for.

I probably won’t ever go back to Tony’s, although I’ve swooped around it in Google Maps. I know that some of the old crew went on to college, moved away, moved on. Others didn’t fare as well. It’s garden-variety nostalgia, I guess. But whenever I click around the old neighborhood, it feels deeper. I become unexpectedly swamped with sorrow. Not for the architecture, or our old apartment, or the street, or even the bodega itself. I think it’s for that girl on the brink of womanhood, the version I left behind. The girl who would venture to Tony’s all by herself, who danced there with a boy for the first time, who sometimes stood out on warm summer nights smoking and flirting. The girl whose roots are still buried there, if they were even hers to begin with.

About the Author

Amy Brill’s short stories and essays have appeared in One Story, The Common, Redbook, Real Simple, Guernica and the anthologies Stories from New York, Before and After, and Labor Day. She has been awarded a 2015 New York Foundation for the Arts fellowship in fiction, and a Peabody Award in documentary writing. Her debut novel, The Movement of Stars, was published in 2013.

Photography by Anu Jindal

The Bodega Project – Electric Literature

The Bodega Project is supported by a grant from the New York City Department of Cultural Affairs.

We Keep Going Back to Where They Died

I learned to snorkel mid-winter in an indoor pool in the suburbs of Cleveland, Ohio. The air was stifling, thick with the smell of chlorine. There was nothing to see in the pool and no explanation given for the purpose of this middle school gym unit; maybe our teachers dreamed we’d go on island vacations. I don’t remember ever snorkeling again until 2010 when I traveled to a research station on San Salvador Island in the Bahamas where I’d teach a Caribbean literature course and where I’d start writing a novel about the sediment of history’s layers. The water shimmered aqua closer to shore, deepened to a dark blue farther out. In spite of how clear the water seemed, you had to beware rocks and lionfish, and you couldn’t know where the reefs were without sticking your head beneath the meniscus of the ocean. Locals and research station staff would give instructions for different reefs around the island: where to enter the water and in which direction to float.

Locating trailheads to the ruins of the plantations on the island took the same colloquial knowledge. I needed a machete to re-clear trails that had almost disappeared after the rainy season. Some buildings I could find, somewhat intact or piles of rubble as they may be. Depending on the time of year and the amount of rain preceding my visits, different sections of the plantations were inaccessible. While I wanted my students to see the places we were reading about, the island’s lack of historical preservation became just as pertinent a topic of conversation.

While I wanted my students to see the places we were reading about, the island’s lack of historical preservation became just as pertinent a topic of conversation.

My professional training is in nineteenth-century U.S. literature, the literature of slavery and abolition a particular focus. I had never bothered to visit a restored or preserved plantation in the U.S., knowing how rare it was for such a place to be focused on preserving or illuminating the history of slavery. In the Bahamas, I wondered: wouldn’t this be the place for the descendants of the enslaved to take control of memory through preservation? Of the narrative presented to both outsiders and their own descendants?

In the span of years I’ve been going to the Bahamas, I also went to Eastern Europe for the first and second times. Three of my grandparents were immigrants — one before the war, two after. No one had ever gone back nor wanted to. But there I was in Vilnius, Lithuania — Vilna, the “Jerusalem of the North” before the war — for a literary seminar. On the plane over, I looked up the Lithuanian word for Jew so I’d know if someone called me that; I had no idea what to expect. I knew I’d be immediately identified as American, but it was disconcerting having no idea how others would be interpreting who I was.

From inside the ruins of a plantation building in the Bahamas. Photo: Rebecca Entel

The apartment I stayed in was inside the area that had been the wartime ghetto. There were some war-related plaques around town in multiple languages, most rather vague and hard to find. I wouldn’t have known the boundaries of the ghetto if I hadn’t learned them on a walking tour. Each day I crossed the street where the guarded entrance had stood. Each step I took — each meal I enjoyed in an outdoor café, sipping wine — felt weighed down with the layers of history I was moving through. Almost as though my clothes held a leftover dampness.

In the Bahamas, I wondered: wouldn’t this be the place for the descendants of the enslaved to take control of memory through preservation? Of the narrative presented to both outsiders and their own descendants?

Months after my trip a friend would return from teaching a course that traveled to sites of Civil War memory and recount walking into slave quarters for the first time in his life and worrying he’d break down in front of his students. I nodded, described “having the creeps” my entire time in Eastern Europe. Not new knowledge from the trips, but being in the places our ancestors, close and distant, survived or didn’t… There are probably no spots on earth that don’t feel this way to someone, if those someones are still around.

I didn’t have students with me at Panerai, a site in the forest outside Vilna where oil pits became mass graves. The group wandered silently among the pits and monuments. There were butterflies and a strong scent of pine, yahrzeit candles, a small museum space with graphic photographs. I found myself in a cluster of four, all of us grandchildren of people who’d survived the war in one or another unfathomable way: liberated from camps or in hiding. One of us murmured that she had a weird feeling that she didn’t want the non-Jewish people in our group to be there right then. Another mentioned that he’d spoken to some Lithuanians who grew up a mile away and had never been here. One floated the thought that maybe this place should just be bombed out of existence. I rambled a bit about the crumbling plantation walls I’d seen, the choice of nature’s entropy over historical preservation. We were subdued, didn’t debate. The four of us had all grown up in the U.S. or Canada. What if we lived here?

Pit at Panerai. Photo: Rebecca Entel

On the bus back to the city, the rest of the group sat in silence as though scraped down to exhaustion by what we’d seen. But the four of us laughed too loudly at something trivial. Maybe we’d become some dark version of punchy or maybe that day was a microcosm of how days just are: the reality of what we knew of this past wedged in alongside a funny story told by a friend.

Later that same day I got on another bus to Warsaw, the first time I’d ever gone to Poland. For weeks ahead of the 24-hour trip, I’d agonized about whether I should be taking a bus farther south to Auschwitz, where my grandfather had been during the war.

“Why do you need to go there?” my grandma had asked, annoyed. “So you can look at barbed wire?”

One of us murmured that she had a weird feeling that she didn’t want the non-Jewish people in our group to be there right then.

While we had this conversation on Skype, I heard my mother in the background on the phone with a friend of my grandma’s — also a survivor — and I could tell from her responses that he was bewildered, even upset, that I wasn’t going.

On this trip I was continuing to work on the novel that was partly fueled by my own bewilderment about the overgrown plantation ruins on San Salvador and the not-quite curious responses from San Salvadorans — the sense of why would you be interested in those stones?

Confederate Statues are History — So is Taking Them Down

I didn’t go to Auschwitz. Still, my grandma didn’t object to the preservation of camps as historical sites. To her, though, the sites were for those who didn’t know anything about the history — or worse, who didn’t believe — so someone like me visiting was beside the point. Was that the best use of the ruins on San Salvador: waiting for outsiders? Teaching what Derek Walcott describes in the “Ruins of a Great House” as the “leprosy of empire”?

Or: would anyone tell me if they didn’t want me walking there? To keep my blade’s edge away? Walcott: “The rot remains with us.” (My emphasis.)

In Beloved, Sethe’s notion of rememory suggests the traumatized could literally bump into their memories: “If a house burns down, it’s gone, but the place — the picture of it — stays, and not just in my rememory, but out there, in the world. What I remember is a picture floating around out there outside my head. I mean, even if I don’t think it, even if I die, the picture of what I did, or knew, or saw is still out there. Right in the place where it happened.” The past distorts the physical world into a minefield for those who wander back “out there.”

The trails to the inland plantations grow over while life goes on around the island’s perimeter, only cleared by visiting researchers who mark their tracks with fluorescent flagging tape so they can be found again and again.

As we stood at Panerai, living far, far away seemed a gift our grandparents had had the foresight to offer us. But they hadn’t deliberated; they’d fled.

As we stood at Panerai, living far, far away seemed a gift our grandparents had had the foresight to offer us. But they hadn’t deliberated; they’d fled.

“We were still trying to save our lives,” my grandma had told me about the few months she spent in Poland after the war ended. She had met my grandfather in the road, each trying to get home — him from Auschwitz, her from Wittenberg, a camp in Germany.

“How did you get home?” I’d asked.

“I walked.”

And everywhere she went she saw people walking in all different directions, speaking different languages.

Neither ever went home. Her town didn’t exist anymore; in Kielce, where my grandfather had grown up, a pogrom in 1946. The two of them went to Lodz to stay in a family friend’s spare room, but they were afraid even to speak on the streetcar since their accents would identify them as Jewish — a concept baffling to me. (When I studied Yiddish in college, my grandma told me I spoke it with a Clevelander’s accent.)

They traveled to a U.N.-run Displaced Persons camp near Munich. My mother was born there, the only doctor available a Nazi. Sick and cold and hungry, they arrived at Ellis Island in January 1947. They each traveled with a “Certificate of Identity in Lieu of Passport” issued by the U.S. consulate. On my grandma’s, the “Distinguishing Marks or Features,” was a scar. On my grandfather’s, the number on his arm. On my infant mother’s: the blank made more blank with “xxx.” Thirty years later I was born in Cleveland, white.

They each traveled with a “Certificate of Identity in Lieu of Passport” issued by the U.S. consulate. On my grandma’s, the “Distinguishing Marks or Features,” was a scar. On my grandfather’s, the number on his arm.

In the Bahamas, official emancipation came in 1834, but national independence has been in place only a few years longer than I’ve been alive. So many, many miles already traveled before that 140-year wait.

Sometimes you can’t stay; sometimes you can’t leave. No matter how many times I try to write through my glimmer of an idea about (im)migration and privilege, moving or staying put in places of peril, of genocide, I can’t find my way to a statement.

No version remotely resembles the ways these words — staying, leaving — mean in my life. The year I was snorkeling in gym class, I was the same age my grandma was when, as she put it, “the war was at my doorstep.” The monuments, memorials, and museums I saw: crafted thousands of miles from their referents.

My grandma, shaken for weeks after a trip to the then-newly-opened Holocaust Museum in D.C.: “I felt like I was on the inside, looking out.”

Skyping with my grandma from the hotel the night I arrived in Poland, I held my laptop up to the open, screen-less window. “It’s like a real city,” I said, and she shrugged. In the morning I walked into the hotel breakfast buffet and looked around at counters covered in all of my grandma’s favorite foods — the sweet smell of dark-brown breads and fruit spreads, interrupted by whiffs of herring and lox — and felt terrible. A canister marked LARD somehow made me feel better: something that made her not belong here.

After breakfast I picked up a bright yellow pamphlet advertising daylong bus trips. One went to a camp, promising tourists would see the shocking crematoriums. I can’t remember if it was going to Auschwitz or another camp. I can’t remember if it said crematorium or gas chamber. I’d put it back in its plastic holder on the lobby counter.

One tour went to a camp, promising tourists would see “the shocking crematoriums.” I’d put it back in its plastic holder on the lobby counter.

I made my way to a new Jewish museum on the Warsaw ghetto site that wasn’t technically open yet, peeked into windows on the exhibits under construction, and lingered in the gift shop, listening to Yiddish music. (In two trips to Vilna, I’d found one single person to speak Yiddish with.) The rest of the day I just wandered around Warsaw, a city neither of my grandparents had ever even visited, ducking in and out of cafes in rhythm with intermittent thunderstorms.

In Vilnius, Lithuania: (right) the Jewish library building that became a meeting place for the resistance in the ghetto; (left) the entrance to the apartment building I was staying in. Photo: Rebecca Entel

During one particularly long storm, I found a cafe with a charming rounded wall of windows. I sat there as the sky blackened and the windows rattled, looking through a book I’d bought at the museum: a collection of photographs from the Lodz ghetto, the first place my grandma had been imprisoned during the war and a local bus ride away from Warsaw. A bus ride I’d shied away from — I think — because I had no idea where to go once I got there.

Late in the evening I returned to the hotel to retrieve my overstuffed backpack for the overnight bus back to Vilna. When the bellhop strode from the lobby with my claim ticket, I hovered anxiously at the desk, unsure if I was supposed to wait or follow him.

The woman behind the desk told me: “Everything will be all right, madame.”

I tried to pronounce dziękuję — thank you — the way my grandma had told me the night before: the first and only Polish word she would ever teach me. I’d written it phonetically as chikoon-yay on a scrap of paper.

Upon my return from Poland, I had almost nothing to write on my travel blog. Whatever I was looking for, it wasn’t there: a point so obvious I felt embarrassed to type it.

My first time snorkeling at San Salvador’s barrier reef, I had a horrendous summer cold that turned my head to a lump of heavy clay. The July equatorial sun spangled the water and blinded me. And quashed my thought of getting a different view of hilltop plantation ruins from the middle of the ocean. (It would be almost seven years until my book about the ruins was published, two more years until my first trip to Eastern Europe, and four until Poland. Five and a half years later my grandma would die.) Disoriented, I spun in a doggy-paddle.

The July equatorial sun spangled the water and blinded me. And quashed my thought of getting a different view of hilltop plantation ruins from the middle of the ocean.

I put my head back in the water where it was cooler and hazy: an underworld you couldn’t see from above. I could hear nothing but my own breathing through the snorkel. Occasionally the water would cloud, and the coral would seem grey and dead-looking. But then: a flash of color as a spray of fish darted into hiding holes or burst forth under and around me. I dutifully cleared my mask when it fogged.

Another member of the group dove down to the sea floor and drummed her hands. The sand rustled up as a stingray longer than any of us slowly loosened itself from where it’d been submerged. How had she detected it, so well hidden? We hung in the water — admiring of its size and leery of its venom, both — watching it twist and float away.