Ted Wilson Reviews the World: Goodbye, Vitamin

★★★★★

Hello, and welcome to my week-by-week review of the world. Today I am reviewing Goodbye, Vitamin.

The rejection of modern medicine has been in vogue lately, like the anti-vaccination movement or the lesser known practice of putting other people’s poop in your butt — an idea thrust into the mainstream with this scene from Miranda July’s Me and You and Everyone We Know:

For this reason I had assumed Rachel Khong’s Goodbye, Vitamin to be a pro-scurvy manifesto, and I was excited to see what benefits a lack of vitamins might offer. It turns out Goodbye, Vitamin isn’t about that at all, according to the blurbs on the dust jacket. And once I have time to sit down and read the book, I will update this review.

For now, I will tell you everything else you need to know about the book. It’s by author Rachel Khong, who has pretty amazing teeth. I’m guessing they are either digitally altered or she lost them all as a child, and what I’m seeing is the result of many hours spent with a top-tier orthodontist. They’re great teeth!

Typically an author’s appearance is irrelevant, but Ms. Khong’s teeth were such a distraction I stared at them for over an hour, and was only able to look away when I blacked one out with a marker.

Now if you’re a lemon fan, you’re going to love this book. There are lemons all over the cover! And if lemons aren’t your thing, there’s another version of the book with a banana on the cover. If you don’t like lemons or bananas, I suggest removing the dust jacket and drawing your preferred fruit on the book itself. You can draw a durian or whatever.

Currently the book is only available in hardcover, but the cover isn’t that hard to tear off if you want to save a little space on your bookshelf. Unfortunately what is hard to do is to tear off the cover without also utterly destroying the rest of the book. I ended up having to buy a second copy.

If you’re no sold yet, famous person Khloé Kardashian recommended Goodbye, Vitamin, and that’s more than enough for me. Is it a coincidence that Khloé and Ms. Khong share the same KH consonant pairing, or is it a subtle clue that they are actually the same person? I have no way of knowing and neither do you. Not every mystery needs to be solved.

BEST FEATURE: This book reminded me to buy vitamins.
WORST FEATURE: If you drop the book on the floor it is very likely to spill open to the end and ruin the ending for you.

Please join me next week when I’ll be reviewing milk.

TED WILSON REVIEWS THE WORLD: MY BODYGUARD

Late Night at the 24-Hour Bodega

By Tracy O’Neill

Presenting the seventh 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.

“How is it possible you aren’t in the NBA?” I ask the man behind the deli counter. He is Amir Mothna, six-five, thirty, with fresh braids and a Metallica T-shirt. His cousin Nasir says all Amir’s brothers are this tall. All eight of them. But Amir doesn’t have time for ball. It’s been two, three years since he took time off because it, this deli at 47 Kingsland Avenue, a straight cut across from the Cooper Park Houses in East Williamsburg, is his, and work is different when it’s your own. He doesn’t have time to even watch the playoffs, and still, I think, he is trying not to smile, secretly a little pleased to know that this is how he’s seen: as a guy who ought to have a sneaker endorsement. But it can be hard to tell with him. He’s got the facility to dead out the expression on his face with expertise arrived at in over a decade of bodega life.

I have come to the deli to know him — an assignment that is difficult to convey to Amir when he asks what I have in mind. There are words like “profile,” but they never quite landed in my explanation a few days before. Yes, him. Writing in the world about his life. For a moment, his eyebrows knit together, Amir as incredulous as the moment, later, when I would ask what the object is he hands to a boy across the counter, and the object is a Fidget Spinner: but all the kids have them. In the end, what happens is I stand on the customer side of the deli counter while Amir works, a Plexiglass counter stuffed with candy and Black and Milds between us.

Outside, the north-facing wall of the deli has a memory for death. Or lives, depending how you look at it. You’ll see Bowie there and Prince, Whitney, a spray paint memorial with a trash receptacle done up to resemble a boom box like someone’s dad’s idea of a joke about the garbage on the radio these days. Turn the corner, and the pictures become egg sandwiches. There’s a bulletproof glass lazy Susan for the late-late of a twenty-four hour establishment. And inside, there’s Amir’s cousin Nasir and him. There’s the chef, too. The music is Leaf singing about playing the block like a Tetris game, the aisles are two, and no, there’s no alcohol. There are individually packaged slices of pie.

To arrive at the bodega at 47 Kingsland is for me a matter of two blocks, but the guys from my corner mostly don’t go there. There are two delis on my corner, one so close to my apartment they share a fenced-in quadrangle of refuse, so close I call my stoop the deli annex. I’ve been living in the building for seven years, so I have come to expect the cloth director’s chair on the sidewalk, the parade of coordination of the sort where kicks are always a color-synecdoche for the outfit. I know that when one cries for his dead boys, the other will be ready to talk about the brains of something he believes in called The Man Upstairs. I know the opinions about Lady Gaga’s face, made and unmade, and I know the corner shit-shooters’s critique of the boys you see over the unofficial line where Jackson Street cuts through. They say over there, it gets ignorant. It gets young. And to speak of ignorance, of youth, is, for them, to speak of unnecessary violence with some resignation and also some forgiveness. They are only boys.

But there are no boys now. Now is a Sunday night lull. That will change in an hour. Amir knows the rhythm of when the place will grow bristly with customers or slide out into emptiness. He has theories about populations in time. A rush means the end of a good television show: they obsess, tight to their TV set, and then when it’s done, stomachs announce their dearth. Time to eat.

It’s hard for him pick out the reasons exactly, but Amir figures maybe eating is part of why he got into the deli business, or food anyway. He says he likes to prepare it. When he was a kid, he’d help his mom in the kitchen. She isn’t Yemeni like Amir’s father, but she learned to cook what Amir calls “culture food” from their neighbors in Detroit. His favorite was aseed, a flour and water dish served with rich soup. After he moved to the city in 2005, he went to work at his cousin’s deli in Rosedale. Now there is this place, his and his family’s, and maybe he doesn’t distinguish much between the two when you get down to it. It’s impossible for Amir to answer questions about himself without mentioning family. When I ask what his great dream is, he says that his sons, now four and ten, will go to college, or at least the older one who is less a pain in the ass. When I ask what he does for fun, he says he goes to see relatives in Queens. When I ask how he’d describe himself, he says the task is too difficult but agrees with me that probably Nasir has some ideas in response to the inquiry.

It’s impossible for Amir to answer questions about himself without mentioning family. When I ask what his great dream is, he says that his sons, now four and ten, will go to college, or at least the older one who is less a pain in the ass.

Nasir, after all, is a little more prone to framing identity. The last time I was in the deli, he told me in the neighborhood he’s known as Daddy. He was grabbing my 9-volts and recovering from one of the radiant women who torture him endlessly, recreationally, giving his rap in a nasal drawl.

“Big Daddy, no. Little Daddy. But still, I’m the Daddy.” The man who bags groceries nearby entered the store. “George, George, tell her what they call me,” Nasir called out.

“You, papi chulo?” George said. “Daddy.”

“You see,” Nasir said. “I take care of people.

But there is not time to ask Nasir about Amir because then the door swings open to accommodate a man in a white T-shirt and a woman with a baby in the stroller. For the first time all night, Amir’s face bursts from stoicism, a stunner of a smile with all its generosity and kinship feeling. The man in the white T-shirt, you see, it’s been a minute. They roll that fact around for a while, and then Amir tells the man about a shooting near his other store in Bed-Stuy. What’s happening is face-to-face news, news in the style before newspapers, before feeds feeding Mark Zuckerberg.

“Booming?” the man in the white T-shirt says.

“Four times.”

The man drifts deep into the store where food is prepared. This is the way of deli conversations, the way they come in and out through space, words distributed along pathways of chicken wings and paying up, entrances, exits. I ask Amir about the shooting, and with an affect like a prolonged shrug, he says, “A lot of people got shot.” Amir remembers three or four shootings outside the deli. One was two years ago, when the building was still shared by a laundry operation. What it was was a shot through the window of the Laundromat, metal through glass, metal through the belly at 11:47 AM. The gunman had visited the deli first, cranking his voice around in a fake accent and wearing a black mask. After he was asked to leave, he made a small gesture with his finger and there was a man on the floor.

I ask Amir about the shooting, and with an affect like a prolonged shrug, he says, “A lot of people got shot.”

I think about how he must worry. I think about his wife who he met in Yemen. He’d go to visit the family of his father’s friend, and there she was, this young woman. There was a form to it, manners. Sit with the family. Take in the intelligence of the room. Her family, they’re doctors, lawyers. Alone was not an option. That would come later. He would discover this woman had a way of listening. She didn’t like outside food. She liked to cook. She was trained to nurse people in their homes. And one day they would have a life together, two sons, meals of aseed by her hand, trips to Queens. How, when the shots are fired right outside the deli façade, could he not worry?

But Amir says he doesn’t. He’s used to it. He invokes Detroit. He says a store like this isn’t even possible there. And more locally, it’s worse in East New York, Brownsville, or over where his other store is in Bed-Stuy.

“You got Three Oh Three, you got Sumner, you got the Brevoort,” he says, iterating beef. And then after a little while, almost to himself, he muses. “Niggas don’t fight anymore. They shoot. I don’t know why.”

And perhaps it is this that makes me wonder if he fantasizes about the alternatives. Not just games for tall men but dentistry or social work, plumbing or teaching or playing the keys. It is not only anomalies of violence but the eight, nine, ten, twelve hours of serving people, how Amir says, composed, matter-of-fact, with some people the only way to convey that you are respectable is to speak rudely. But when I ask what Amir would do if he didn’t own a deli, he pauses for a long while. It’s almost as though he’s never considered the answer, though he did work for a time in construction.

“Grocery store,” he says finally.

“If you didn’t have the deli, you’d own a grocery store,” I repeat. At first, I think this must be his dry sense of humor. But no — yes — he’d own a grocery store. They’re bigger.

Because perhaps from the outside, what this life looks like is someone’s forearms resting on the counter, bills covered by loose hands. Bodies shape up to variations on waiting. Someone leaning against a row of Nilla Wafers, phone waist-high. Someone looking to whoever is behind the counter for faster, no that one, no not that but that. And sometimes because there is a woman pitching her voice, there are men wheezily laughing, men muttering about her mental health, and those behind the counter, going a little crazy themselves, throw their arms up, turning away, turning back to mutter or else pacing, singing along with the radio, I need me a li’l baby who gon’ listen. Girl I don’t wanna be the one you iggin’, though ignoring is exactly what he’s trying to do.

But from the inside, you look around and say in the same manner as three-fifty or five dollars, “You got to have patience and strong heart, that’s all.” From the inside, this is what you see: around nine, Teddy and Johnny Boy come in. Teddy pretends he wants a job, and you pretend to be vicious. You tell him no. You tell him he’s unemployable because of his big, fake butt, and you can do that, gun for the laughs, because you’ve known him since he was a kid, when you were first opening your store and he was a little guy down at eye-level with the candy display. Now, he’s twenty, sauntering in with a flashy belt everyone in the store asks about, old enough to mess around with. You can say you watched him grow up.

Johnny Boy gets wrapped up in one of the Fidget Spinners from the jar on the counter. It gets Teddy to thinking about all the toys that meant you were the shit he’d almost forgotten. Those yo-yos with the lights and the little skateboards, what were they called, Tech Decks.

Now, he’s twenty, sauntering in with a flashy belt everyone in the store asks about, old enough to mess around with.

While he waits for hot food, Teddy comes over to the counter, points.

“What’s this?”

“A recorder. I’m interviewing him. He’s going to be famous.”

“You know I been famous,” you say.

“He already got the money.” Teddy pauses. “Are you doing a record deal?” And because he’s old enough to give shit now too, he says, jutting his chin toward Johnny Boy, “That one, he’s a bad influence on the store.”

And maybe even though you know this is joking around, when Teddy begins to offer a total exposé in exchange for one thousand dollars, when he declares that this, in fact, is his store, his and yours by partnership, you think maybe what’s happening is not strictly sarcasm, that the humor derives from its aspirational nature and also the shading of partnership that feels already true or rhymes with truth somehow. Because though maybe part of the appeal of the deli is that it’s yours — not like Chrysler, where your dad worked, where they laid all those people off and left Detroit to be boarded up and drained — the store, it’s not only your own. It’s the block’s too, the same way the picture of yourself rises up from parcels of information about your family.

When asked about challenges, you can’t really think of any, or at least you don’t mention them. You don’t agree that it must have been difficult to open the store. You recall that they were pleased to have a twenty-four-hour setup on the block, and you’re baffled by the question, “Who was happy?”

“The community,” you say.

A woman comes in with her own chilled wine glass for the Snapple she intends to purchase. Then it’s the man with the polite daughter wearing an on-point flight jacket. She wants to hold the Fidget Spinner too, just like all the kids, and you know one of these days she’ll walk in a woman, and you’ll remember when she was four foot-something, asking her dad for the cherry gummies, that weird little toy everyone used to have. And even though what’s now in her hand will already be memorabilia, the Sunday night chat of regulars will remain, as big and familiar to you as the faces of icons painted on your walls.

About the Author

Tracy O’Neill is the author of The Hopeful, one of Electric Literature’s Best Novels of 2015. The same year, she was named a National Book Foundation 5 Under 35 honoree, long-listed for the Flaherty-Dunnan Prize, and was a Narrative Under 30 finalist. In 2012, she was awarded the Center for Fiction’s Emerging Writers Fellowship. Her writing has appeared in Granta, Rolling Stone, The Atlantic, the New Yorker, LitHub, BOMB, Vol. 1 Brooklyn, The Literarian, New World Writing, Narrative, Scoundrel Time, Guernica, Bookforum, Electric Literature, Grantland, Vice, The Guardian, VQR, and the San Francisco Chronicle. Her column Body Language appears in Catapult. She currently teaches at the City College of New York and is pursuing a PhD at Columbia University.

— 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.

What the F**k Is a Beach Read, Anyway?

Come summer, recommending books is a high-stakes game. The right story collection can make a vacation, just as the wrong novel can drive you out of the comforts of a seaside cottage, wandering the streets like a madman in search of entertainment at the mini golf course, the tiki lounge, or that candle-pin bowling alley where a man lost a hand the year before last. And so the publishing industry — not just the houses, but the magazines, the booksellers, the list-makers — have come up with all sorts of coded language meant to guide these seasonal reading choices, terms that frame the matter as a lifestyle decision masquerading as a literary sub-genre that nobody knows quite how to define. Which brings us to the $64,000 question of July:

What the fuck is a beach read, anyway?

This time of year, no other literary term gets thrown around quite so loosely. But what are the parameters? What are the goals? What makes a book suitable for reading on sand in salted air with flesh and paddle sports all around? The answer, no doubt, depends on the recommender and the person doing the reading. We decided to go to another source: the authors.

We asked 8 authors who may (or may not) have been surprised to hear that their books had been included on various summer round-ups and asked them to interrogate just what’s going on. And to be clear, this was no exercise in snobbery. We’re taking this question seriously. (Too seriously, one might argue, but after all this is summer and we’re in search of pastimes.) We asked these authors to think about what a beach read is, what it could be, what it all means, and whether their books (and the books they love) might in fact benefit from a little exposure to sun and surf. The responses we received ran the gamut from celebration to condemnation, reverie to dread.

So, the next time you find yourself heading to the shore and in need of a good summer read, first ask yourself the important epistemological question, what the fuck do my favorite authors think a fucking beach read is, anyway?

Featuring Edan Lepucki, Courtney Maum, Alana Massey, Gabe Habash, Rachel Khong, Patricia Engel, and Sarah Gerard.

A Gracious Book, Likely to Incite Pleasure…

Edan Lepucki, author of Woman №17, California, and others

If you’ve ever been to a beach you realize that people are reading all sorts of things: someone’s got the new Elin Hilderbrand and someone else’s got a James Patterson mass market; there’s that dude reading Shantaram, that elderly lady over there’s got a Bible, and that teenager is reading James Baldwin. I’m always stunned by the diversity of books I see in the wild. For publishers, however, “beach read” is a quick way of saying, “You’re going on vacation so here is a novel that will offer you what you most want from vacation: pleasure.” Of course, what makes one reader purr with delight makes another fall asleep, but for marketing purposes, pleasure here is synonymous with a compelling story and a kind of invisible prose that gets you from one chapter to the next without you noticing the syntax or imagery. But that is a narrow definition, as is my vague idea of those who actively seek out these sorts of books: readers who consume them like candy, one after the other after the other, or, those people who don’t read at any other time of year. (It’s that second group, the one-book-a-year folks, who turn a book into a phenomenon: think Gone Girl). Many novelists simultaneously bristle at this category — My work is not breezy! Check out my similes! — while also hoping to be the book that everyone reads on vacation. My new novel has been called a beach read by quite a few readers and critics, and I’m fine with that label: it means my novel has the power to engage a reader who is sitting before an enormous, stunning body of water, and still decides to look down at a piece of paper with a bunch of words. What they find there better be fun.

It means my novel has the power to engage a reader who is sitting before an enormous, stunning body of water, and still decides to look down at a piece of paper with a bunch of words.

Courtney Maum, author of Touch, I Am Having So Much Fun Here Without You, and others

There are two kinds of unexpected guests: the plus one who shows up with a laundry list of food sensitivities and backhanded “compliments” about your boho-chic décor, and the gentle wit who presents a bottle of Chablis and a bar of salted chocolate along with his excuses. Having had them both over, I know who I want back. Chablis and chocolate guy was witty and entertaining, and he helped with the dishes. The category “beach reads” is a lot like that of the unexpected houseguest — it’s about the experience of inviting something new into your life. It connotes something delightful and relatively risk-free, but that doesn’t mean that it is “easy.” Let’s do away with this word, “easy,” and try instead “a gracious read.” Because the beach read can be sardonic, but it is never crass.

A Transformation, Preferably En Route to an Island…

Alana Massey, author of All the Lives I Want

I see the prevailing wisdom around what constitutes a beach read is reading that encourages you to indulge in escapist impulses and fantasies, things like murder mysteries where you play detective or juicy memoirs from above-average-looking sluts where you play the above-average-looking slut. This makes sense considering that going to the beach is generally an escape from the doldrums of your work and home routines, unless you’re a lifeguard or some sort of cavalier sting ray. But I think a more generous view of the beach read would encompass books that don’t just let you escape but that guide you to some sort of actual transformation that you don’t snap out of. The heat of the sun and the rhythm of waves is conducive to letting your guard down, making you receptive to new ideas presented in nonfiction or self-help books or inclined to empathy for characters you might otherwise despise. You should take a beach read’s message home with you, like a tan and sea-salted wavy hair. I’m delighted that All The Lives I Want is considered a beach read because I think that signals that my book is for a broad audience, as I aimed for a reasonably clever accessibility over an impressive esoterica. The book is pop culture criticism but some of its central themes are about living in a body and navigating being a woman in a public space, creating the potential for a more potent visceral experience considering how heightened those realities are on the beach. Also, a lot of readers have told me they cried reading it, which is great at the beach because you should be wearing sunglasses anyway AND if you do get caught, you can blame salt water or sand in a way you can’t if you start crying on public transportation or into the physically short but emotionally gaping distance between you and the person or people you live with.

The heat of the sun and the rhythm of waves is conducive to letting your guard down, making you receptive to new ideas presented in nonfiction or self-help books or inclined to empathy for characters you might otherwise despise.

Gabe Habash, author of Stephen Florida

In grad school I met some friends at Coney Island. It was a long train ride, so naturally I brought along the book I was reading at the time, which was Ulysses. My friends met me on the boardwalk and immediately made fun of me when they saw me carrying it. All of which is to say that I think a “beach read,” if it means anything, is a book that you really want to read that you now have the time and mental energy to read. This summer I’ve been working my way through short books: Morgan Parker’s There Are More Beautiful Things Than Beyoncé, Jean Rhys’s Good Morning, Midnight, Thomas Bernhard’s The Voice Imitator, Patrik Ouředník’s Europeana, Ryu Murakami’s Piercing, Lily Tuck’s Sisters, Iris Owens’s After Claude, and Heinrich Böll’s The Lost Honor of Katharina Blum.

California Soul: A Literary Guide to SoCal Beach Towns

Rachel Khong, author of Goodbye, Vitamin

Until very recently, a “beach read,” to me, meant any book I held aloft while lying in discomfort, distracted by heat or sand or overhead Frisbees, peering up at and trying to comprehend but not succeeding, feeling stupid from the sun. It was a book inevitably ruined by water. But when, last fall, my husband and I began planning a trip to Greece, I decided I was going to have to learn to read on beaches, so help me God. We would be traveling between islands by ferry, and could each only bring a small carry-on. So I packed a Penguin paperback of War and Peace — a book I figured would last me the entire week-long vacation, and then some. Over the course of the trip, the book fell slowly and dramatically apart. It lost its cover early, so I didn’t even get street (beach) cred for reading War and Peace. (We joked about affixing the detached cover to some random thriller.) Anyway! It turned out to be perfect, improbably: tiny, dense type that somehow, by being physically difficult to read, became easier to follow. A cast of characters I could be languidly enraged or delighted by. And prose that could be rambling, yet beautiful… like the very beach itself? I’m actually just talking through my (sun) hat now, so I’ll simply leave you with this: if you hate reading on beaches, try War and Peace!

A Seasonal Delusion…

Patricia Engel, author of The Veins of the Ocean, Vida, and others

I live near the beach and rarely see anybody reading there, no matter the time of year. Most beachgoers are flat on their backs, eyes closed to the sun, or talking to the person next to them, drinking, listening to music, snapping selfies, minding their kids as they play in the sand or waves. Books bought with the best intentions of being read on these long, bright summer days remain tucked in bags with the emergency aloe. But I suppose “beach read” sounds better than “sofa read,” “lunch-break read,” or “doctor’s waiting room read.” In the end, giving a book such a luxurious alias doesn’t say much about the book. Just what we think our lives should look like.

In the end, giving a book such a luxurious alias doesn’t say much about the book. Just what we think our lives should look like.

Sarah Gerard, author of Sunshine State, Binary Star, and others

A beach read is a book that is made of the beach. The covers of beach reads are sand packed into wet towels left to bake in the sun. The pages are made of dried seaweed — so when the blurbers say they’ve “devoured” the book, that is to be taken literally. Inside, the stories are all about people going to the beach, mostly women, usually in small groups, so as not to scare off potential husbands. Not much happens on the beach, so unlike the ocean, the conflicts don’t run deep.

A Life Among Horrors

Why aren’t there more domestic horror novels? There are all kinds of popular “scary” books with vampires, witches, and ghosts, but there are far too few that look at the everyday horrors that terrorize us. Motherhood, fatherhood, childhood — these are labels that we attach to ourselves (or ones that society attaches to us), but we too rarely examine how these classifications impose on our lives. Isn’t it true that we wonder if we are as good as our own parents? Don’t even children consider if they behave similarly to their peers on the playground? Thoughts of inadequacy and even total failure haunt all of us at some point. Victor LaValle, who is best known for his past novels The Devil in Silver and Big Machine, brilliantly and terrifyingly explores the common horrors of domestic life in his latest genre-bending novel, The Changeling.

“LaValle […] bluntly and unexpectedly punches us in the gut.”

Antique book dealer Apollo Kagwa, LaValle’s protagonist, has a fascination with fatherhood. Apollo’s own father left when he was just four years old, and he wonders why. It’s a mystery that he can’t shake. In fact, the question of his father’s absence haunts him so greatly that strange, ominous dreams about his father’s disappearance have plagued him since his childhood. When Apollo finds out that his wife, Emma, is pregnant, he vows to be a different kind of father for his son.

And it’s a promise that Apollo keeps. Soon after Emma gives birth, Apollo shows great care in loving his son:

“Apollo unbuttoned his shirt so he could hold the boy directly against his skin. The baby didn’t cry, didn’t flutter his eyes yet, only opened and closed his tiny mouth. Apollo watched his son take his gasping, first breaths. He watched that little face for what seemed like quite a while, an hour or an eternity.”

While Apollo’s actions show a sense of loving commitment toward his son, Apollo still feels pain from the abandonment he faced from his father. Thinking he can rectify this feeling, Apollo asks Emma if they can name the baby Brian, which was Apollo’s father’s name. The hope is that if Apollo can love one Brian perhaps both Brians can, at least in Apollo’s mind, love Apollo and make things right. Emma agrees to the name.

Apollo and Emma take home baby Brian, and Apollo triumphantly takes on the role of a modern day dad. He changes diapers, he cares for Brian emotionally, he cradles him and comforts him. He does all that he can think of to be a good father.

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

Things seem like they are on a good path — one with a gentle resolution, but this is a LaValle novel. There’s trouble brewing. Emma, who seems to be suffering from post-partum depression, grows distant from Brian and her husband. She begins to claim that she receives strange picture texts of Brian, but when Apollo questions the existence of the pictures, they are nowhere to be found. She goes so far as to claim that the baby she knows as her son isn’t her child. Things get weird, and they get dark.

LaValle, in what is the novel’s best chapter, bluntly and unexpectedly punches us in the gut. We find Apollo tied to a chair, disoriented and crying out for his son. Emma appears and beats her husband. Then, a truly awful event occurs. As a result, Emma flees, and the story shifts from being one firmly planted in the real world (with tinges of fabulism) to one exploring otherworldly sectors of New York rather boldly.

The fascinating dissection of the horrors of fatherhood continues throughout the second half of The Changeling, but LaValle also explores the pitfalls of technology in a startling way that is quite affecting:

“In folktales a vampire couldn’t enter your home unless you invited him in. Without your consent the beast could never cross your threshold. Well, what do you think your computer is? Your phone? You live inside those devices so those devices are your home. But at least a home, a physical building, has a door you can shut, windows you can latch. Technology has no locked doors.”

The Changeling reminds us that technology can get us easier than any monster.

LaValle has total command throughout the tight, short chapters contained in The Changeling. Every section builds upon the previous one in a way that makes each sentence feel necessary. The characters are believable, and the situations, although they are magical, seem just as plausible.

To talk about the The Changeling’s ending would spoil the fun. I’ll say that it’s fulfilling, and it’s even surprisingly emotional. This is the kind of novel where everything works.

If you are looking for one book to read this summer, stop. Here it is. Allow Victor LaValle’s masterpiece to haunt your dreams.

When Gentrification Comes to a Boil

Brian Platzer and Anna Altman talk displacement, dehumanized policing, and writing about the changing neighborhoods of NYC

Bed Stuy Mural. Photo by Joseph Buxbaum, via Flickr.

Brian Platzer’s debut novel, Bed-Stuy is Burning, offers a portrait of racial tension in contemporary Brooklyn. The bulk of the novel unspools over the course of one eventful day, when resentment over gentrification, white privilege, and police brutality erupt into sudden violence. The novel is told in the round, by a sequence of individual voices that come together to form a chorus. It’s a novel about the individuals that comprise a community, whether chosen or not, and the internal lives they carry with them.

Anna Altman: Bed-Stuy Is Burning draws from current events, namely the increased attention to police shootings of young black men (often unarmed) and the civil unrest such incidents have provoked. It takes some courage to write a novel with a plot that is ripped from the news, especially concerning an issue with such racial tension at its core. What is it like to tackle such a pressing and contentious issue?

Brian Platzer: I actually began writing the novel seven or eight years ago, when most days I began my commute into Manhattan by watching kids not much older than my eighth grade students handcuffed and pressed against the subway grate that separates the stairs up to the street from those down to the track. Though there are reasonable arguments on both sides concerning the effectiveness of stop and frisk in limiting guns and violent crime, the lived experience of it was miserable for everyone involved. The kids seemed mortified, the police officers appeared stoic behind masks of brutal professionalism, and we commuters were impotent to help in any way, though these stops were presumably made on our behalf. I couldn’t get it out of my head that if tensions ratcheted up a bit — if a police officer lost control and shot one of these kids, for example — violence would be the logical outcome. I was writing second and third drafts during the fury and rioting in Cleveland, Baltimore, and outside St. Louis. These events made me feel it was an even more worthwhile goal to explore how members of my community — from newcomers to longtime residents — experience such seismic changes. I wanted to learn more about the individuals at the center of these complicated conflicts.

“I couldn’t get it out of my head that if tensions ratcheted up a bit — if a police officer lost control and shot one of these kids, for example — violence would be the logical outcome.”

AA: You even go ahead and try to imagine the interior life of Police Commissioner William Bratton. How did you try to get inside his mind? What was it like to write the interior life of a public figure?

BP: As soon as I expanded the scope of the novel to include a wide spectrum of perspectives and voices, I felt compelled to include someone at the very top who was pulling many of the strings that manipulated my characters. I was fascinated by the idea that the man who replaced stop and frisk with the broken windows model of policing, who is generally applauded as a successful keeper of both the peace and the community, was the same man who discussed crime in a clinical way almost entirely stripped of humanity. His autobiography provides a back story and some rationale behind his professional inclinations, but after I watched many, many hours of his speeches on YouTube, what stood out most was his desire to talk about policing as though it’s an algorithm where if one processes every incident of crime and tries to police those areas of incident with extra scrutiny — “putting cops on the dots” in his language — the human part would take care of itself. I was fascinated by the tension between the people whose story I was telling and the man at the top who tries, for what is probably a good reason in his opinion, to dehumanize the process. At that point, the decision was whether to fictionalize him and give Bratton a new name while retaining most of his same characteristics or to do my best to imagine his internal life. I felt the latter would be less distracting for the reader. My novel takes place in a real park in a real neighborhood and refers to real subway stations, restaurants, housing projects, banks, hospitals, music, and celebrities. Bratton, who first appears in the novel as a voice on the radio, is just another representative of the real world in which my fictional characters live.

AA: Your rendering of the erupting violence makes for some of the most interesting scenes in the book: you manage to convey the growing feeling of chaos and unrest from the perspective of each individual, but there isn’t a sense of how things are moving as a whole. You never fully spell out for the reader the chain of events. How did you decide when to fade to black?

BP: My goal was to retain the power of causality while depicting the natural confusion and uncertainty that accompanies moments of sudden and unexpected violence. It was important to me that no event feel random: that each action in the novel leads inevitably to the next one. At the same time, I didn’t want to suggest that all the participants were fully aware of such causality. When Aaron and his family move in as the only non-African Americans on a beautiful Bed-Stuy block, he sees the move as a step in a new direction and towards a new life. But he is not fully aware of the consequences that the gentrifiers en masse create, such as displacement, increased policing, and community anger. These tensions lead to violence, which comes back to focus on Aaron’s family. Though Aaron is an important part of a chain of events, he is still surprised to find himself the target of his neighbors’ anger.

From His Corner, A Bodega Owner Watches Brooklyn Change

AA: As the book progresses and tension rises, your characters maintain their introspective stream-of-consciousness monologues. Dramatic moments unfold as characters are thinking back to earlier losses and regrets. What does it mean that your characters drift off into reveries even in dramatic moments?

BP: It’s always a tough line to walk between advancing the plot and depicting a character’s inner life. What you rightly refer to as “introspective stream-of-consciousness” was my best attempt to approach what it is to be a person with thoughts, yearnings, and memories who is currently experiencing a heightened moment of fear or violence. Although it would be unlikely that Antoinette, for example, literally spends time recalling her history growing up in Jamaica as she is taping up windows to protect the house from potential intruders, it is likely that for her, the moment is filtered through a prism of other experiences with violence. In real life, these moments of tension might be colored by flash-recollections or instincts. In the novel, I wanted to make sure that the reader understood the full weight of these memories. After three or four drafts, I felt I had the balance right between keeping the story moving and making the characters real.

AA: One of the characters, Aaron, struggles with a gambling addiction that, in the past, has cost him dearly. This serves as a barrier between Aaron and his wife’s ability to establish a trusting relationship and proves to be a daily struggle for Aaron. What was your interest in looking more closely at addiction? Why gambling? How does addiction transform relationships?

BP: I’m fascinated by gambling because the propensity to take risks is as often viewed as a positive trait as it is a negative one. Some of the same proclivities that get Aaron fired from his career as a rabbi are those that help him succeed on Wall Street. I used his background of gambling to highlight the gentrifier’s mindset. When a survey was done of the original Brooklyn gentrifiers in 1969, they described themselves as “adventurous” in the same way Aaron sees himself. Although he’s trying not to bet as often or as much as he used to, Aaron sees his entire life as a gamble now. He’s put all his financial resources into a house that he hopes will appreciate in value, and he has the (unappealing) tendency to see his neighbors as if not dangerous then at least exotic. I also wanted to take advantage of the instability inherent in the life of an addict of any kind and those who love him. Aaron wants to marry Amelia, but he can’t promise her that he’ll be able to control his addiction. This tension is a dramatized version of what a lot of people feel on the precipice of marriage — that they want the other person to promise a happy life for them even though they know that such a guarantee would be insincere. Finally, I wanted to present a counterpoint in Aaron’s personality to his loss of faith. As a rabbi, he could no longer believe in God, so he finds something else he can believe in: math, probability, and chance.

“I’m fascinated by gambling because the propensity to take risks is as often viewed as a positive trait as it is a negative one.”

AA: Religion plays a central role in the book: the couple’s nanny, Antoinette, is very religious; in fact, she attends weekly church and mosque services and has recently started to wear a hijab. One half of the central couple, Aaron, worked for years as a rabbi but now claims to have lost his faith. How do issues of religion run under the surface of a story about racial inequality or police violence? There’s a particular scene, too, where speaking about religion seems to dissolve barriers to communication. What comfort or community can religion provide us in those moments? How does religion create common ground or keep us apart?

BP: No one in the novel is comfortable with his or her own religious faith. Aaron struggles to retain faith as a rabbi in a world where God could allow such suffering; Antoinette originally turns to Christianity for community and an escape from a previous life, and then she transitions to Islam after Christianity isn’t satisfying enough; and Amelia thinks of religion as a way to articulate what differentiates human beings from animals, describing God as something like a synonym for “consciousness,” and yet she is the one who believes she encounters God in a pivotal moment in the novel. Brooklyn was long ago nicknamed the Borough of Churches, and though many houses of worship recently have been bought out by developers, when I walk around my Bed-Stuy neighborhood on a Sunday, it’s clear how significant a role the church plays in the lives of so many who live here. Consequently, when Aaron employs his religious tools in an attempt to assuage the crowd’s anger, it’s a complicated moment of a rabbi who is uncertain about his faith manipulating the faith of others in order to save himself and his family. It’s both a deeply cynical moment and one grounded in his love for his family and his history as a religious leader. Religion is both a political tool and a personal salve, and I try to present it with all its power and ambiguity.

11 of the Worst Weddings in Literature

It’s wedding season. These days, that doesn’t mean a few DJ-ed buffets at the local rental hall. Going to a wedding, more and more often, means getting on a plane to some far-flung destination, driving to the middle of nowhere to drink specialty cocktails in a rustic chic barn, and taking silly-sexy pictures in a photo booth so as to capture the one use of your very expensive bridesmaid dress or groomsmen’s suit.

If you’re feeling exhausted, bored, or financially depleted, take heart — literature has come up with weddings that can far outweigh the horror of the parties you’ve been to. These 11 novels remind us that, at the very least, we can be happy that the bride and groom came willingly and without the baggage of a still-living spouse, and the guests, while drunk, were not also out to kill.

There is something perversely satisfying about seeing an event that is so heavy with expectations get trashed, and in these cases, it is illuminating too. These authors don’t accept weddings as the flower-strewn manifestation of assured romantic bliss. They take one of humanity’s oldest customs and scrutinize and question it, and the results, while not always pretty, are always interesting.

A Storm of Swords by George R. R. Martin

Nascent fans of Game of Thrones hear rumors about the crazy thing that happens in the third installment of A Song of Fire and Ice long before they actually get around to reading it. With that kind of hype, you’d think that the event in question, the Red Wedding, wouldn’t live up to expectations, but boy does it. Without giving too much away, it’s a blood-bath at the Frey’s castle, and in true Martin fashion, the characters who are ruthlessly murdered are the very ones who you’ve been cheering on for hundreds of pages.

My Brilliant Friend by Elena Ferrante

The first book of Ferrante’s Neapolitan series concludes with Lila’s wedding to Stefano Carracci, who is the heir to the local grocery store and, in what should have been a huge red flag, the son of Don Achille, the man who terrified Lila and Elena as children. Before the boozy wedding feast is over, young Lila — and she is still so very young — realizes that Stefano is just like his father and the wedding was a terrible mistake, one that will haunt her for the rest of her life.

A Thousand Splendid Suns by Khaled Hosseini

As a girl, Mariam also marries an abusive man, though she had even less say than Lila in the decision. Hers is a forced marriage to a shoemaker named Rasheed. On the day of her wedding, she sees her future husband for the first time when she holds up a mirror under her wedding veil. She’s upset to find Rasheed is unattractive, though he becomes even more so once she knows his personality.

Chronicle of a Death Foretold by Gabriel García Marquez

Just hours after their marriage, Bayardo San Roman returns his bride, Angela Vicario, to her parents, claiming that she’s been tainted by a lover. Angela gives up the name of the man who “stained” her, Santiago Nasar, and Angela’s brothers announce that they are going to kill him in revenge. Sure, it’s awkward to return the wedding presents, but it seems like cold-blooded murder might be going a tad overboard.

Seating Arrangements by Maggie Shipstead

Weddings have become big, expensive circuses, something that Maggie Shipstead uses to great comedic effect in her novel of a snobby New England wedding gone wrong. Daphne Van Meter is marrying Greyson Duff at her family’s island estate, and though Daphne’s parents have done their best to ensure that this will be the pristine social event of the season, the wedding is thrown off course by drunkenness, lust, and other wonderfully bad behavior.

The Emperor’s Children by Claire Messud

Messud also has a keen eye for the ridiculous nature of modern weddings. Chapter 51 of her novel is titled “‘Vows by Lisa Solomon’, Special to the New York Times” and is a satirical (yet also totally plausible) article that recounts the wedding of two of the book’s main characters. The wedding typifies everything that a certain type of couple might want, from a “a profusion of calla lilies” to “seafoam chiffon.”

Jane Eyre by Charlotte Brontë

The last thing you want to hear when you’re standing at the alter about to get married is that your intended already has a spouse. But such is Jane’s lot when one of her guests shouts out, “I declare the existence of an impediment,” forcing Mr. Rochester to admit that he’s been harboring a wife in his attic. Rochester’s defense is that his wife is completely crazy, but Jane’s not having it, and she leaves Thornfield, rendering herself penniless and homeless in the process.

Atonement by Ian McEwan

As a young girl, Briony mistakes her sister’s flirting with one of their family estate’s groundskeepers for something more, and as a result accuses the wrong man of raping her cousin Lola. McEwan’s Booker Prize-shortlisted novel explores the repercussions of this event, including a terrible wedding where Lola marries her rapist, though only Briony knows the truth, and finds it too late to make amends.

Goodbye, Columbus by Philip Roth

Roth’s 1959, National Book Award-winning novella follows a working class Jewish man named Neil Klugman through his relationship with an affluent suburban girl named Brenda Patimkin. The novel probes the two families’ class divide, including at the generally awkward wedding which includes soused partiers, intimidating relatives, and a man who keeps publicly grabbing his wife’s boobs.

The Age of Innocence by Edith Wharton

New York Society is thrilled when Newland Archer marries the acceptably demure May Wellend. But Wharton, being Wharton, exposes the sham of following society’s rules for their own sake. Newland is actually hopelessly in love with May’s ‘exotic,’ sexier cousin, Countess Ellen Olenska, and his mind is on Ellen throughout the whole wedding, though he manages to snap-to in time to say “I do.”

Great Expectations by Charles Dickens

This is the most famous literary wedding that never actually happened. A lot of prep did, though, as Ms. Havisham’s grand mansion bears witness to it, still laid out with tables of uneaten cake and decayed flowers. Ms. Havisham also continues to wear her moth-eaten wedding dress, though exactly how long it’s been since she was jilted she can’t say, because the clocks all stopped at the time her heart broke: twenty minutes to nine.

Literature Needs Angry Female Heroes

About a year ago I found myself in a depression. It came like all the clichés said it did. Sometimes like a fog, the air thick to breathe and hard to walk through. Sometimes like a rain cloud, hanging over my head and following me from task to task like a cartoon, the threat of rain worse than rain itself. Worst, it was like waves crashing over and over again, no lifeline of “better days to come” or “it gets better” or “count your blessings” enough to pull me up from under each cresting wave of failures, days spent kicking and kicking, and never breaking the surface.

I knew what it was for a long time, but I refused to name it for fear of appropriation, stealing from people who suffer from “real” mental illness. After all, I tried to rationalize, if my depression had a reason then it wasn’t really depression. If I was able to force myself from the bed I just wasted twenty minutes crying on, it couldn’t be real. If I hadn’t hit bottom, it couldn’t be real. Fighting against it to do all the things I needed to do was exhausting and left me physically sore, aching muscles and a pounding head, but the only alternative was giving up and giving in completely so I forced myself to do them. The fact that I could pantomime my way through the steps to complete each made me feel like I couldn’t possibly be actually depressed.

I knew what it was for a long time, but I refused to name it for fear of stealing from people who suffer from ‘real’ mental illness.

But that didn’t stop me from crying, every day, in the morning on the subway, on the phone when my parents called to check in.

I was tired all day, but I couldn’t sleep at night.

I finally called a therapist to set up an appointment, but she informed me she was going on maternity leave in a week so she was not taking new clients. She gave me some recommendations and asked if I had any questions. I was already crying in my workplace’s communal kitchen, hastily wiping tears that I was sure everyone could see anyway.

“Do you think it’s worth it to seek outside help?” My voice strained, and I could tell by her soft assurances, that, yes it was, she knew. I just needed someone so badly to tell me it was not all in my head, that I was not crazy, that something was wrong and I couldn’t make it right just by the force of my own will.

I tried what had so often brought me comfort in childhood: finding a character in a book who suffered as I did, and emulating her triumphs. I read The Bell Jar and thought about Plath and her oven; I read Mrs. Dalloway and thought about Woolf with her pockets full of stones. I wanted to identify with these women, to feel a spark of similarity or at least a dull ache of familiarity in my chest, a “misery loves company” type of understanding.

I read The Bell Jar and thought about Plath and her oven; I read Mrs. Dalloway and thought about Woolf with her pockets full of stones.

But it didn’t work. Because while I felt depressed like these characters, they did not feel angry like me. Literature made their depression elusive and magical.

There was Plath’s Esther, falling into her depression in the way good girls do: quietly, without a fuss, self-blaming, self-reflecting. She chastises herself for her emotions, holding herself responsible for not feeling the same excitement at her magazine internship that the other girls do:

“I guess I should have reacted the way most of the other girls were, but I couldn’t get myself to react. I felt very small and very empty, the way the eye of a tornado must feel, moving dully along in the middle of the surrounding hullabaloo.”

Esther’s depression was one of stillness, frozen, and even in the darkest throes of it, was tied to an inherent sense of self-worth. Even her oft-quoted passage about the fig tree, a touchstone in writing about depression, failed to ring true for me, her sadness manifesting from the abundance of choices before her, where my pickings seemed slim. “I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and one by one, they plopped to the ground at my feet” she says, reflecting on all the possibilities her life could be in a way that made me feel a hollow emptiness.

Like Esther, Woolf’s heroine, Clarissa Dalloway, was also frozen in her depression, but managed to make a choice, to eat her depression, hide it deep within herself, never to be acknowledged. In the privacy of her bedroom after learning of a young veteran’s suicide she reflects:

“…she felt somehow very like him — the young man who had killed himself. She felt glad that he had done it; thrown it away. The clock was striking. The leaden circles dissolved in the air. He made her feel the beauty; made her feel the fun. But she must go back. She must assemble.”

Clarissa, for all her understanding and kinship towards the violence of depression and the demons that would cause someone to end their life, will still return to her party, will still smile at her guests, will still remain the upper-class woman she’s known as. She will experience her depression, but only in solitude. In the greater world, she will bury it.

These women, these authors and characters, are exemplars in literature exploring depression. Esther and Mrs. Dalloway are our archetypes — the characters I based my understanding of depression on. They are described as beautiful, sad things, with pale white faces that hide their true turmoil. Characters who will either soldier on bravely in the face of this illness or at least do so until they no longer can. They are the characters authors model their own depressed characters after: mysterious, beautiful, unknowable.

Authors like Jeffrey Eugenides. His novel, The Virgin Suicides, has become a modern classic exploring the depressive minds of young women. The boys in the book, acting as narrator, reconstruct the Lisbon sisters as sad nymphs with alluring stares and blond hair. The boys lament how it was always the same with the sisters, “…their white faces drifting in slow motion past us, while we pretended we hadn’t been looking for them at all, that we didn’t know they existed.” Even these girls (Cecilia, Lux, Bonnie, Mary, Terese) who unlike Esther or Mrs. Dalloway, succumb to what should be the horrible, unimaginable, messy endings of suicide in their narratives, are presented with a kind of glowing reverence, an untouchability, as if their depression made them unicorns in our world of mere horses, tragic creatures to be remembered as “carnal angels,” not even human in their deaths.

My depression is not this. It is not malaise or exhaustion or ennui.

My depression does not feel passive. It feels firecracker angry, seething just below my skin, ready to be set off, activated against the world.

It is a depression of hopelessness, but not the hopelessness of wishing for something else, of wishing for something more. It is a hopelessness that’s far more sinister. It is the feeling that you did everything you were supposed to do and still find yourself empty and unfilled, a realization to the broken promises of the world. Society makes promises, unspoken contracts, particularly with women, for what it deems acceptable and appropriate, rules that restrict you to a rigid path of being: be a good girl, don’t make trouble, don’t get into trouble. Want what we tell you to want, get what we tell you to get, and you will be rewarded somehow. Society spends our whole girlhood telling us to keep our heads down, to be ambitious but temper it with poise; don’t intimidate, don’t dominate, don’t get agitated or annoyed or visibly upset. Want the husband and the child and the home (and it all) but for God’s sake never act like you want it.

Then, they promise, you will be satisfied.

But I’m not satisfied. I don’t know what to do with the academic degrees I earned. I don’t know if I want the babies my body is running out of time to carry. There are terrifying moments when I realize my parents had already bought a house and had my older sister by my age. I feel empty. I feel owed. I ignore the gnawing fear, like a starving stomach turning on itself, that I will never be satisfied.

My depression does not feel passive. It feels firecracker angry, seething just below my skin, ready to be set off, activated against the world.

I oscillate between bouts of depression that mute the world and anger that leaves me screaming, embarrassed afterwards because I’m sure people in my apartment building’s lobby can hear me cursing and pounding the walls. The anger lives just below the surface, like a racehorse at the starting gate, threatening with each slight, each unfulfilled promise to take off. Esther did not scream at Buddy; Mrs. Dalloway did not snap at her friends and family; the Lisbon sisters did not wake up with raw throats and red-rimmed eyes from crying after a panic attack. But I did. And try as I might, I could not find myself in the classic texts of depression.

The Damage of ‘Crazy Ex-Girlfriend’

Then, one day in my building’s laundry room, I scanned the discarded books meant to help people pass the time. Almost on a whim, I picked up The Woman Upstairs by Claire Messud.

And I discovered the literary doppelganger I’d been aching for.

Much has been written about Nora, the unlikeable narrator of Messud’s novel, mostly revolving around the fact that the woman, to reviewers and readers, is particularly unlikeable. Messud has consistently defended her Nora, with a fitting response to a Publisher’s Weekly interviewer about if she (Messud) would like to be friends with Nora: “Would you want to be friends with Humbert Humbert?”

Nora, a fortyish single woman with no children, has an intense inner monologue throughout the book that consistently juxtaposes the display version of herself, the dutiful daughter, the dependable schoolteacher, that intangible, unreachable “good” girl all women are familiar with. Stretches of her dialogue feel as if she is speaking directly to me, validating my thoughts, reassuring me, no you’re not crazy, you did it right, you played by their rules, you are owed.

Stretches of her dialogue feel as if she is speaking directly to me, validating my thoughts, reassuring me.

Nora wastes no time pussyfooting around her anger, her very first lines in the novel: “How angry am I? You don’t want to know. Nobody wants to know about that.”

Nora’s anger fans my own, a fire of kinship that continues throughout the novel. Nora isn’t necessarily wronged, per se, except one whopper of a betrayal at the end, but that doesn’t keep her slow-boiling rage from simmering throughout the book’s pages. She’s mad not necessarily at decisions she made but at decisions she was forced to make, giving up her passion (art) for a career in teaching, losing her mother, her quiet, small life. She rants:

“It was supposed to say “Great Artist” on my tombstone, but if I died right now it would say ‘Such a good teacher/daughter/friend’ instead; and what I really want to shout, and want in big letters on that grave, too is FUCK YOU ALL.”

And though she understands she played some part in making this life she hates, she can’t figure out what she did wrong, what she did that sent her into this depressive anger:

“I’d like to blame the world for what I’ve failed to do, but the failure — the failure that sometimes washes over me as anger, makes me so angry I could spit — is all mine, in the end. What made my obstacles insurmountable, what consigned me to mediocrity, is me, just me. I thought for so long, forever that I was strong enough — or I misunderstood what strength was.”

I recognized this rage at not understanding what you’ve done wrong, this frustration at the unfairness: doing what you were told was right and still feeling like your life is somehow wrong. In the end, she lumps us, all the women with this ineffable feeling, together and I nearly weep with relief at what she understands, the exhaustion of fighting an invisible opponent society swears you are imagining: “The Woman Upstairs is like that,” she says, “We keep it together. You don’t make a mess and you don’t make mistakes and you don’t call people at four in the morning.” Her resignation of this is not defeat, but a promise, a woman (women) lying in wait to get what is rightfully hers.

It is not simply the fact that Messud had the chutzpah to portray an unlikeable woman. It is the fact that she touched on the exact ways we shame and manipulate women out of feeling. How society demands they be The Woman Upstairs and then gaslights them whenever they have the audacity to be angry about it.

Messud touched on the exact ways we shame and manipulate women out of feeling.

I love Nora for the very fact that Messud cracks open her head and allows all that unlikability to bleed onto the page. I love Nora because she is angry and frustrated and fed up with the world. I love Nora because she has a chip on her shoulder.

I love Nora because I feel the exact same way.

We need so many more Noras, so many more female heroes that breathe fire and anger at what the world has offered them.

We need so many more Amazing Amys from Gone Girl who break down societal expectations for women with venomous “cool-girl” monologues, who go after what they want not with grit and pluck like the pint-sized feminists the world seems to love (Fearless Girl on Wall Street, Eleven from “Stranger Things”) but underhandedly, who succeed not with sticktoitiveness but instead with sneakiness and deceit. The kind of girl who plans to ensure success meticulous, as cold and callous and calculating as any whack on The Sopranos. “Cool Girls never get angry,” she tells us, “they only smile in a chagrined, loving manner and let their men do whatever they want.”

Amy is not a cool girl, she promises. She’s an angry woman, depressed over the unfair curve balls life has thrown her — fired from her job in a dying industry, forced to move to the middle of nowhere for her family, parents who use her, a husband who puts his own depression on a pedestal yet labels hers hysterical. She won’t hide that anger to make you comfortable; she will use it to get what she knows she needs.

We need so many more Mathilde Satterwhites from Lauren Groff’s Fates and Furies, a self-sacrificing wife in her husband’s version of their marriage, cunning and furious in her own version. A woman who doesn’t retreat into her depression, but uses it as fuel for her purposeful fire. Mathilde has been abandoned by her family after she causes a tragic accident, she is hated by her in-laws who believe she is only in her marriage for the money, her star is dwarfed by the success of her husband (“Somehow, despite her politics and smarts, she had become a wife, and wives, as we all know, are invisible. The midnight elves of marriage. The house in the country, the apartment in the city, the taxes, the dog, all were her concern: he had no idea what she did with her time,” Groff so perfectly encapsulates the unpaid emotional labor of wives).

Any of these would be enough to lead a character, a person, into depression, but Mathilde refuses to be paralyzed as Esther, swallow her emotions like Clarissa, be subjected to the gaze of the men in her life like the Lisbon sisters. Mathilde will fight, use anger to craft cunning and shrewd plans, use a cool calculated rage to achieve her desires. She will not be sidelined; she will speak her own story.

We need so many more. I’m part of a generation of young women who are told everyday that they are selfish, that no one owes them anything,that they have to pull themselves up by their own bootstraps. We are told to lean in but are slapped back by a culture that demands gratefulness. We are told to go after what we want, but are laughed at when we display annoyance or frustration when no one will even give us a chance to get it. We need women who push back against this narrative. We need women who show their rage.

We are told to lean in but are slapped back by a culture that demands gratefulness. We are told to go after what we want, but are laughed at when we display annoyance.

When I was a teacher, I used to tell my students that their personal narratives needed a lesson, a moral, something for the reader to walk away with. And I wish there was a convenient, internet think piece-style ending for this essay. Something tailor-made for a headline like “Finding Angry Female Heroes Helped Cure My Depression.” But, of course, that’s not the case, because depression is long and varied, with peaks and valleys that come and recede like unpredictable waves. It ebbs; I move forward, find ways to manage it, life gets easier.

But discovering these angry female heroes helps in the most basic of ways. They represent me. They show there is camaraderie in the way I feel. They make me feel justified and rightful for these thoughts that others dismiss as self-pitying or self-indulgent or overly pessimistic.

They represent me, a version of myself I’ve never had the ability to experience before in literature. They give me what everyone wants in the world, the ability to not feel so alone.

A Parthenon Made of Banned Books Now Stands Where Nazis Once Burned Writings

Plus JK Rowling has written a book on a dress and a new exhibit on Octavia Butler shows her routines of self-encouragement.

Even on a slow news day in the book world, there are intriguing projects coming to fruition, and there’s excitement over future projects now brewing. Today? An Argentinian artist has created a full-size replica of the Parthenon and made it completely out of 100,000 banned books, JK Rowling just casually told the world that she has written a children’s fairy tale on one of her dresses, and a new exhibit on Octavia Butler shows that all you need is a little personal pep talks to achieve greatness.

Parthenon of Books created out of 100,000 banned books

This may be a dream come true for book-lovers everywhere: a monument made out of books. An Argentinian artist, Marta Minujín, has completed a replica of the Acropolis in Athens composed entirely out of 100,000 banned books that stands in Kassel, Germany. For some time, he has been asking people to donate censored books to use in his project, after having university students help him identify titles that either are or were banned in countries around the world. What has been dubbed the “Parthenon of Books” stands on the spot where Nazis burned 2,000 books in 1993 as part of their campaign against works by Jewish authors and anti-fascists, and where a library standing on that site was destroyed in a Ally attack, setting 35,000 books aflame. Naturally, this was the perfect spot to resurrect the countless books that had disappeared. Why the Parthenon? Hailing from the Greek city of Athens, it represents a pillar of democracy. Scattered amongst the Parthenon of Books are titles such as Fahrenheit 451, Don Quixote, and The Da Vinci Code. The exhibition will run until September 17, 2017, after which time the books will recirculated around the world.

[Metro/Miranda Larbi]

JK Rowling reveals she has written a children’s book on a dress

Only J.K. Rowling can get away with certain things: this time, she has written a children’s fairytale on a literal dress. As part of a joint Halloween and 50th birthday party, Rowling asked partygoers to show up as their own private nightmares. Hers? A lost manuscript. The Harry Potter clearly went all out, because most of the story all over the dress she was wearing, she revealed in an interview with Christiane Amanpour. “I don’t know whether it will ever be published, but it’s actually hanging in a wardrobe,” Rowling said. In case she has any doubts, we can assure her that everyone is waiting for any new material with her name on it to grace bookshelves worldwide.

[The Guardian/Danuta Kean]

New Octavia Butler exhibit gives insight into her goals and insecurities

We admire Octavia Butler’s confidence. “I shall be a bestselling writer,” she wrote on her notebook that is now on display in a new exhibit, called “Octavia Butler: Telling My Stories,” at the Huntington Library in San Marino, California. The papers of the sci-fi author were acquired by the library after her death in 2006, and have now been curated to tell the story of her life and her work. She is praised for being the first female African American author to reach prominence in sci-fi, as well as the only writer in the genre to receive the McArthur Fellowship. Among the items on display are notebooks, report cards, childhood drawings, and personal notes of self-encouragement. By the time she passed away at age 58, Butler indeed had become a bestselling author, and much more.

[NPR/Karen Grigsby Bates]

If You Want to Hear America Singing, Try the Walmart Parking Lot

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

Noah Cicero on imitation, a sense of place, and forgetting fame

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 as he makes his way from New York to California. This week, Noah Cicero, author of Best Behavior, Human War, and Bipolar Cowboy, shares details and insights from his writing life in Nevada.

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

Setting the Scene: Sitting by a Creek in Nevada

We’re in the Spring Mountains of Nevada, in Mount Charleston, at the Deer Creek Trail, sitting next to a nice flowing creek right here, nice clear water. A lot of families are here. I usually come every Sunday with my friend Bernice. We talk about our problems for the week. I’ll tell her any philosophical ideas I had, or any book ideas. That’s about the only time I tell anyone that out loud.

Solzhenitsyn in 1974

Chekhov, Solzhenitsyn & Dave Chappelle: Imitation as Inspiration

When I was young, I didn’t have to think very hard about it and then I would just write, and I would write a lot. Before I published The Human War, I would imitate someone. When I wrote Treatise, I imitated Chekhov. I took Chekhov’s My Life­ — I found the text of it on the internet and I put it on a Word document, and then I would just delete paragraphs as I went through. So I would study Chekhov to know what he did, because I wanted to change as a writer. Every time I want to change as a writer, I find a couple of people and then I try to duplicate them and figure out what they’re doing.

Go to Work was an accident. I got a job at a corrections place. It wasn’t a high level security prison; it was just drug addicts and people who got into bar fights. I worked there for five weeks, and it was so crazy and weird that I started naturally writing about it. I wanted to make it like an action movie, or like Law & Order, but my ironic version of it. Then I read The Gulag Archipelago by Solzhenitsyn. In Go to Work, when he gets taken, those scenes are duplicates from The Gulag Archipelago. The fantastical scenes are from movies, like Wahlberg movies. I was seriously laughing the entire time that I was writing that book. When I write, it’s like I’m doing stand-up comedy and I’m just kind of acting it out and having lots of fun. I love stand-up comedy. I get huge amounts of influence from it, like Dave Chappelle and Louis CK. I will just watch them on Netflix before I’m going to bed — random ones.

“Every time I want to change as a writer, I find a couple of people and then I try to duplicate them and figure out what they’re doing.”

The Writing Process: Listening to Metallica Over and Over

Give it to the Grand Canyon took me nine months to write, 40,000 words. I go to Starbucks and put headphones on and listen to music — the same song over and over again. Go to Work I wrote mostly to “Rhyme” by Metallica. In Bipolar Cowboy, the songs in the book are the songs I was listening to — “Skinny Love” by Bon Iver, Tina Turner’s “What’s Love Got to Do With It,” Fleetwood Mac songs. I didn’t do that when I was young but now I do because I’m never going to be famous famous. (If someone gave me $80,000 and said ‘here’s a concept and a nice house to sit in,’ I could write on a Mac computer every day peacefully with a research assistant — the full-fledged Dave Eggers experience — and not listen to music.) When I wrote the Grand Canyon book, it was three-four times a week. I would go to Starbucks and sit for an hour and a half until I finished the coffee, about 1,100 words at a time. I don’t count the words, really, I count the sittings.

“I don’t count the words, really, I count the sittings.”

The Writing Life on the Road: Jeff VanderMeer’s Tallahassee

From Ohio to Korea to Vegas: A Sense of Place in Writing

When I lived in Ohio it was always very existential, because Ohio is a fatalistic place. But then when I moved to Korea I couldn’t get to a bookstore with English books except once a month. So I bought giant books like Infinite Jest and Underworld, American Tragedy, 2666. I just made it a point to read these giant books. In Korea, I was drinking and partying and going to work. At the end I wrote five short stories that made it into the Bathroom Reader. In Korea, there was a literary community, but that’s when I kind of changed. I started reading Murakami, David Foster Wallace, I read Don DeLillo, I read Thomas Pynchon, and I’m surrounded by MFA people who are talking about really intense criticism and postmodern theory.

After Korea, I went and lived at the Grand Canyon, where there was no literary community, and then Las Vegas. I spent a year reading mass amounts of zen and nature books like Gary Snyder, Wallace Stegner. I even read Zane Grey, his western-themed books. I went to Desert Poetry at Danielle Pafunda’s house and everyone there was MFA. While I’m there, I ended up sitting with two poets. One works for Publisher’s Weekly and the other guy goes to University of Chicago for law. And I’m sitting there talking about poetry and I’m talking about Supreme Court cases at a 100-year old house in the middle of the desert with a Port-a-Potty.

The Dawn of the Literary Internet

It was 2002, or 2003, but I was living in Vienna, which is a town of 2,000 people and one red light. Then I moved to a town closer to Youngstown that had businesses and probably 10,000 or 15,000 people. Through the internet I found James Chapman from Fugue State and then he published The Human War, which didn’t sell many copies. I had James Chapman give me 100 copies. I sent out all 100 to different bloggers. At that point the internet had just started, we just got past AOL, so now we’re entering into the WiFi world and cellphones, but still not smartphones. At that moment when I first started, the biggest things in the world were The Paris Review and The Kenyon Review, and that was it. That was literature. If you couldn’t break in there, you had nothing. When I met Tao, we both realized that we could do all kinds of things with the internet. We could talk to a lot of people and double submit and triple submit, basically twenty submit a couple of times. “I Clean in Silence” was published on five different sites. Me and Tao were scouring the internet. We took advantage of that and started publishing anywhere. Then we had the blogs. My first blog was Get Published or Die Trying, then I made another one. We took advantage of the internet as a medium to get our work out there, to bypass The Paris Review.

We took advantage of the internet as a medium to get our work out there, to bypass The Paris Review.

What Does the Future Hold?

Well, I just wrote a book about the Grand Canyon and I just wrote a book called The Nature Documentary. Either a book about Las Vegas that’s very fantastical, or I was thinking a book about where I’m from, because not many people are from a town with one red light. I tried to write it before, but I was very judgmental of the town. Now I’ve separated myself — I’m 36 years old, and I don’t want to write about myself. There might be a young boy character but it’s going to be in that town, because if you go to the Barnes & Noble bookshop, nobody from one red light town is writing that. It would still be very nature-y. I want to write books for adults. I don’t want to write books for 22 year olds for the rest of my life. There is this thing where we try to replicate Catcher in the Rye over and over again where we only write books for young kids. Books are either written for young people or they’re about two rich people who get divorced. These are the only options we’re offering literature right now. I always try to not contaminate myself with what everyone’s doing. I’m not trying to get famous.

“Books are either written for young people or they’re about two rich people who get divorced. These are the only options we’re offering literature right now.”

A Story About the Devastation of Loving Your Husband

“If You Sing Like That For Me”

By Akhil Sharma

Late one June afternoon, seven months after my wedding, I woke from a short, deep sleep, in love with my husband. I did not know then, lying in bed and looking out the window at the line of gray clouds, that my love would last only a few hours and that I would never again care for Rajinder with the same urgency — never again in the five homes we would share and through the two daughters and one son we would also share, though unevenly and with great bitterness. I did not know this then, suddenly awake and only twenty-six, with a husband not much older, nor did I know that the memory of the coming hours would periodically overwhelm me throughout my life.

We were living in a small flat on the roof of a three-story house in Defense Colony, in New Delhi. Rajinder had signed the lease a week before our wedding. Two days after we married, he took me to the flat. I had thought I would be frightened entering my new home for the first time, but I was not. I felt very still that morning, watching Rajinder in his gray sweater bend over and open the padlock. Although it was cold, I wore only a pink silk sari and blouse, because I knew that my thick eyebrows, broad nose, and thin lips made me homely, and to win his love I must try especially hard to be appealing, even though I did not want to be.

The sun filled the living room through a window that took up half a wall and looked out onto the concrete roof. Rajinder went in first, holding the heavy brass padlock in his right hand. In the center of the room was a low plywood table with a thistle broom on top, and in a corner three plastic folding chairs lay collapsed on the floor. I followed a few steps behind Rajinder. The room was a white rectangle. Looking at it, I felt nothing. I saw the table and broom, the window grille with its drooping iron flowers, the dust in which we left our footprints, and I thought I should be feeling something, some anxiety, or fear, or curiosity. Perhaps even joy.

“We can put the TV there,” Rajinder said softly, standing before the window and pointing to the right corner of the living room. He was slightly overweight and wore sweaters that were a bit large for him. They made him appear humble, a small man aware of his smallness. The thick black frames of his glasses, his old-fashioned mustache, as thin as a scratch, and the fading hairline created an impression of thoughtfulness. “The sofa before the window.” At that moment, and often that day, I would think of myself with his smallness forever, bearing his children, going where he went, having to open always to his touch, and whatever I was looking at would begin to waver, and I would want to run. Run down the curving dark stairs, fast, fast, through the colony’s narrow streets, with my sandals loud and alone, until I got to the bus stand and the 52 came, and then at the ice factory I would change to the 10, and finally I would climb the wooden steps to my parents’ flat and the door would be open and no one would have noticed that I had gone with some small man.

I followed Rajinder into the bedroom, and the terror was gone, an open door now shut, and again I felt nothing, as if I were marble inside. The two rooms were exactly alike, except the bedroom was empty. “And there, the bed,” Rajinder said, placing it with a slight wave of his hand against the wall across from the window. He spoke slowly and firmly, as if he were describing what was already there. “The fridge we can put right there,” at the foot of the bed. Both were part of my dowry. Whenever he looked at me, I either said yes or nodded my head in agreement. We went outside and he showed me the kitchen and the bathroom, which were connected to the flat but could be entered only through doors opening onto the roof.

From the roof, a little after eleven, I watched Rajinder drive away on his scooter. He was going to my parents’ flat in the Old Vegetable Market, where my dowry and our wedding gifts were stored. I had nothing to do while he was gone, so I wandered in and out of the flat and around the roof. Defense Colony was composed of rows of pale two- or three-story buildings. A small park, edged with eucalyptus trees, was behind our house.

Rajinder returned two hours later with his elder brother, Ashok, and a yellow van. It took three trips to bring the TV, the sofa, the fridge, the mixer, the steel plates, and my clothes. Each time they left, I wanted them never to return. Whenever they pulled up outside, Ashok pressed the horn, which played “Jingle Bells.” I was frightened by Ashok, because, with his handlebar mustache and muscular forearms, he reminded me of my father’s brothers, who, my mother claimed, beat their wives. Listening to his curses drift out of the stairwell each time he bumped against a wall while maneuvering the sofa, TV, and fridge up the stairs, I felt ashamed, as if he were cursing the dowry and, through it, me.

On the first trip they brought back two suitcases that my mother had packed with my clothes. I was cold, and when they left, I changed in the bedroom. My hands were trembling by then, and each time I swallowed, I felt a sharp pain in my throat that made my eyes water. Standing there in the room gray with dust, the light like cold, clear water, I felt sad and lonely and excited at being naked in an empty room in a place where no one knew me. I put on a salwar kameez, but even completely covered by the big shirt and pants, I was cold. I added a sweater and socks, but the cold had slipped under my skin and lingered beneath my fingernails.

Rajinder did not appear to notice I had changed. I swept the rooms while the men were gone, and stacked the kitchen shelves with the steel plates, saucers, and spoons that had come as gifts. Rajinder and Ashok brought all the gifts except the bed, which was too big for them. It was raised to the roof by pulleys the next day. They were able to bring up the mattress, though, and the sight of it made me happy, for I knew I would fall asleep easily and that another eight hours would pass.

We did not eat lunch, but in the evening I made rotis and lentils on a kerosene stove. The kitchen had no lightbulb, and I had only the stove’s blue flame to see by. The icy wind swirled around my feet. Nearly thirty years later I can still remember that wind. I could eat only one roti, while Rajinder and Ashok had six each. We sat in the living room, and they spoke loudly of their family’s farm, gasoline prices, politics in Haryana, and Indira Gandhi’s government. I spoke once, saying that I liked Indira Gandhi, and Ashok said that was because I was a Delhi woman who wanted to see women in power. My throat hurt and I felt as if I were breathing steam.

Ashok left after dinner, and Rajinder and I were truly alone for the first time since our marriage. Our voices were so respectful, we might have been in mourning. He took me silently in the bedroom, on the mattress beneath the window with the full moon peering in. When it was over and Rajinder was sleeping, I lifted myself on an elbow to look at him. I felt somehow that I could look at him more easily while he was asleep. I would not be nervous, trying to hide my scrutiny, and if the panic came, I could just hold on until it passed. I thought that if I could see him properly just once, I would no longer be frightened; I would know what kind of a man he was and what the future held. But the narrow mouth and the stiff, straight way he slept, with his arms folded across his chest, said one thing, and the long, dark eyelashes denied it. I stared at him until he started flickering, and then I closed my eyes.

Three months earlier, when our parents introduced us, I did not think we would marry. The neutrality of Rajinder’s features, across the restaurant table from me, reassured me that we would not meet after that dinner. It was not that I expected to marry someone particularly handsome. I was neither pretty nor talented, and my family was not rich. But I could not imagine spending my life with someone so anonymous. If asked, I would have been unable to tell what kind of man I wanted to marry, whether he should be handsome and funny. I was not even certain I wanted to marry, though at times I thought marriage would make me less lonely. What I wanted was to be with someone who could make me different, someone other than the person I was.

Rajinder did not appear to be such a man, and although the fact that we were meeting meant that our families approved of each other, I still felt safe. Twice before, my parents had sat on either side of me as I met men found through the matrimonial section of the Sunday Times of India. One received a job offer in Bombay, and Ma and Pitaji did not want to send me that far away with someone they could not be sure of. The other, who was very handsome and drove a motorcycle, had lied about his income. I was glad that he had lied, for what could such a handsome man find in me?

Those two introductions were also held in Vikrant, a two-story dosa restaurant across from the Amba cinema. I liked Vikrant, for I thought the place’s obvious cheapness would be held against us. The evening that Rajinder and I met, Vikrant was crowded with people waiting for the six-to-nine show. We sat down and an adolescent waiter swept bits of sambhar and dosa from the table onto the floor. Footsteps upstairs caused flecks of blue paint to drift down.

As the dinner began, Rajinder’s mother, a small, round woman with a pockmarked face, spoke of her sorrow that Rajinder’s father had not lived to see his two sons reach manhood. Ashok, sitting on one side of Rajinder, nodded slowly and solemnly at this. Rajinder gave no indication of what he thought. After a moment of silence Pitaji, obese and bald, tilted slightly forward and said, “It’s all in the stars. What can a man do?” The waiter returned with five glasses of water, his fingers dipped to the second joint in the water. Rajinder and I were supposed to speak, but I was nervous, despite my certainty that we would not marry, and could think of nothing to say. We did not open our mouths until we ordered our dosas. Pitaji, worried that we would spend the meal in silence, asked Rajinder, “Other than work, how do you like to spend your time?” Then, to impress Rajinder with his sophistication, he added in English, “What hobbies you have?” The door to the kitchen, a few tables from us, was open, and I saw a cow standing near a skillet.

“I like to read the newspaper. In college I played badminton,” Rajinder answered in English. His voice was respectful, and he smoothed each word with his tongue before letting go.

“Anita sometimes reads the newspapers,” Ma said, and then became quiet at the absurdity of her words.

The food came and we ate quickly and mostly in silence, though all of us made sure to leave a bit on the plate to show how full we were.

Rajinder’s mother talked the most during the meal. She told us that Rajinder had always been favored over his older brother — a beautiful, hardworking boy who obeyed his mother like God Ram — and how Rajinder had paid her back by being the first in the family to leave the farm in Bursa to attend college, where he got a master’s, and by becoming a bank officer. To get to work from Bursa he had to commute two and a half hours every day. This was very strenuous, she said, and Rajinder had long ago reached the age for marriage, so he wished to set up a household in the city. “We want a city girl,” his mother said loudly, as if boasting of her modernity. “With an education but a strong respect for tradition.”

“Asha, Anita’s younger sister, is finishing her Ph.D. in molecular biology and might be going to America in a year, for further studies,” Ma said slowly, almost accidentally. She was a short, dark woman, so thin that her skin hung loose. “Two of my brothers are doctors; so is one sister. And I have one brother who is an engineer. I wanted Anita to be a doctor, but she was lazy and did not study.” My mother and I loved each other, but sometimes something inside her would slip, and she would attack me, and she was so clever and I loved her so much that all I could do was feel helpless.

Dinner ended and I still had not spoken. When Rajinder said he did not want any dessert, I asked, “Do you like movies?” It was the only question I could think of, and I had felt pressured by Pitaji’s stares.

“A little,” Rajinder said seriously. After a pause he asked, “And you, do you like movies?”

“Yes,” I said, and then, to be daring and to assert my personality, I added, “very much.”

Two days after that Pitaji asked me if I would mind marrying Rajinder, and because I could not think of any reason not to, I said all right. Still, I did not think we would marry. Something would come up. His family might decide that my B.A. and B.Ed. were not enough, or Rajinder might suddenly announce that he was in love with his typist.

The engagement occurred a month later, and although I was not allowed to attend the ceremony, Asha was, and she described everything. Rajinder sat cross-legged before the pandit and the holy fire. Pitaji’s pants were too tight for him to fold his legs, and he had to keep a foot on either side of the fire. Ashok and his mother were on either side of Rajinder. The small pink room was crowded with Rajinder’s aunts and uncles. The uncles, Asha said, were unshaven and smelled faintly of manure. The pandit chanted in Sanskrit and at certain points motioned for Pitaji to tie a red thread around Rajinder’s right wrist and to place a packet of one hundred five-rupee bills in his lap.

Only then, as Asha, grinning, described the ceremony, did I realize that I would actually marry Rajinder. I was shocked. I seemed to be standing outside myself, a stranger, looking at two women, Anita and Asha, sitting on a brown sofa in a wide, bright room. We were two women, both of whom would cry if slapped, laugh if tickled. But one was doing her Ph.D. and possibly going to America, and the other, her elder sister, who was slow in school, was now going to marry and have children and grow old. Why will she go to America and I stay here? I wanted to demand of someone, anyone. Why, when Pitaji took us out of school, saying what good was education for girls, did Asha, then only in third grade, go and re-enroll herself, while I waited for Pitaji to change his mind? I felt so sad I could not even hate Asha for her thoughtlessness.

As the days until the wedding evaporated, I had difficulty sleeping, and sometimes everything was lost in a sudden brightness. Often I woke at night and thought the engagement was a dream. Ma and Pitaji mentioned the marriage only in connection with the shopping involved. Once, Asha asked what I was feeling about the marriage, and I said, “What do you care?”

When I placed the necklace of marigolds around Rajinder’s neck, to seal our marriage, I brushed my hand against his neck to confirm the reality of his presence. The pandit recited Sanskrit verses, occasionally pouring clarified butter into the holy fire, which we had just circled seven times. It is done, I thought. I am married now. I felt no different. I was wearing a bright red silk sari and could smell the sourness of new cloth. People were surrounding us, many people. Movie songs blared over the loudspeakers. On the ground was a red-and-black-striped carpet. The tent above us had the same stripes. Rajinder draped a garland around my neck and everyone began cheering. Their voices smothered the rumble of the night’s traffic passing on the road outside the alley.

Although the celebration lasted another six hours, ending at about one in the morning, I did not remember most of it until many years later. I did not remember the two red thrones on which we sat and received the congratulations of women in pretty silk saris and men wearing handsome pants and shirts. I know about the cold only because of the photos showing vapor coming from people’s mouths as they spoke. I still do not remember what I thought as I sat there. For nearly eight years I did not remember Ashok and his mother, Ma, Pitaji, and Asha getting in the car with us to go to the temple hostel where the people from Rajinder’s side were housed. Nor did I remember walking through the long halls, with moisture on the once-white walls, and seeing in rooms, long and wide, people sleeping on cots, mattresses without frames, blankets folded twice before being laid down. I did not remember all this until one evening eight years later, while wandering through Kamla Nagar market searching for a dress for Asha’s first daughter. I was standing on the sidewalk looking at a stall display of hairbands and thinking of Asha’s husband, a tall, yellow-haired American with a soft, open face, who I felt had made Asha happier and gentler. And then I began crying. People brushed past, trying to ignore me. I was so alone. I was thirty-three years old and so alone that I wanted to sit down on the sidewalk until someone came and picked me up.

I did remember Rajinder’s opening the blue door to the room where we would spend our wedding night. Before we entered, we separated for a moment. Rajinder touched his mother’s feet with his right hand and then touched his forehead with that hand. His mother embraced him. I did the same with each of my parents. As Ma held me, she whispered, “Earlier your father got drunk like the pig he is.” Then Pitaji put his arms around me and said, “I love you,” in English.

The English was what made me cry, even though everyone thought it was the grief of parting. The words reminded me of how Pitaji came home drunk after work once or twice a month and Ma, thin arms folded across her chest, stood in the doorway of his bedroom and watched him fumbling to undress. When I was young, he held me in his lap those nights, his arm tight around my waist, and spoke into my ear in English, as if to prove that he was sober. He would say, “No one loves me. You love me, don’t you, my little sun-ripened mango? I try to be good. I work all day, but no one loves me.” As he spoke, he rocked in place. He would be watching Ma to make sure she heard. Gradually his voice would become husky. He would cry slowly, gently, and when the tears began to come, he would let me go and continue rocking, lost gratefully in his own sadness. Sometimes he turned out the lights and cried silently in the dark for a half hour or more. Then he locked the door to his room and slept.

Those nights Ma offered dinner without speaking. Later she told her own story. But she did not cry, and although Ma knew how to let her voice falter as if the pain were too much to speak of, and her face crumpled with sorrow, I was more impressed by Pitaji’s tears. Ma’s story included some beautiful lines. Lines like “In higher secondary a teacher said, ‘In seven years all the cells in our body change.’ So when Baby died, I thought, It will be all right. In seven years none of me will have touched Baby.” Other lines were as ne, but this was Asha’s favorite. It might have been what first interested her in microbiology. Ma would not eat dinner, but she sat with us on the floor and, leaning forward, told us how she had loved Pitaji once, but after Baby got sick and she kept sending telegrams to Beri for Pitaji to come home and he did not, she did not send a telegram about Baby’s death. “What could he do,” she would say, looking at the floor, “although he always cries so handsomely?” I was dazzled by her words — calling his tears handsome — in comparison with which Pitaji’s ramblings appeared inept. But the grief of the tears seemed irrefutable. And because Ma loved Asha more than she did me, I was less compassionate toward her. When Pitaji awoke and asked for water to dissolve the herbs and medicines he took to make himself vomit, I obeyed readily. When Pitaji spoke of love on my wedding night, the soft, wet vowels of his vomiting were what I remembered.

Rajinder closed and bolted the door. A double bed was in the corner of the room and near it a small table with a jug of water and two glasses. The room had yellow walls and smelled faintly of mildew. I stopped crying and suddenly felt very calm. I stood in the center of the room, a fold of the sari covering my head and falling before my eyes. I thought, I will just say this has been a terrible mistake. Rajinder lifted the sari’s fold and, looking into my eyes, said he was very pleased to marry me. He was wearing a white silk kurta with tiny flowers embroidered around the neck and gold studs for buttons. He led me to the bed with his hand on my elbow and with a light squeeze let me know he wanted me to sit. He took off the loose shirt and suddenly looked small. No, wait. I must tell you, I said. His stomach drooped. What an ugly man, I thought. No. Wait, I said. He did not hear or I did not say. Louder. You are a very nice man, I am sure. The hard bed with the white sheet dotted with rose petals. The hands that undid the blouse and were disappointed by my small breasts. The ceiling was so far away. The moisture between my legs like breath on glass. Rajinder put his kurta back on and poured himself some water and then thought to offer me some.

Sleep was there, cool and dark, as soon as I closed my eyes. But around eight in the morning, when Rajinder shook me awake, I was exhausted. The door to our room was open, and I saw one of Rajinder’s cousins, a fat, hairy man with a towel around his waist, walk past to the bathroom. He looked in and smiled broadly, and I felt ashamed. I was glad I had gotten up at some point in the night and wrapped the sari on again. I had not felt cold, but I had wanted to be completely covered.

Rajinder, Ashok, their mother, and I had breakfast in our room. We sat around the small table and ate rice and yogurt. I wanted to sleep. I wanted to tell them to go away, to stop talking about who had come last night and brought what, and who had not but might still be expected to send a gift, tell them they were boring, foolish people. Ashok and his mother spoke, while Rajinder just nodded. Their words were indistinct, as if coming from across a wide room, and I felt I was dreaming them. I wanted to close my eyes and rest my head on the table. “You eat like a bird,” Rajinder’s mother said, looking at me and smiling.

After breakfast we visited a widowed aunt of Rajinder’s who had been unable to attend the wedding because of arthritis. She lived in a two-room flat covered with posters of gods and smelling of mothballs and old sweat. As she spoke of how carpenters and cobblers were moving in from the villages and passing themselves off as upper-castes, she drooled from the corners of her mouth. I was silent, except for when she asked me about my education and what dishes I liked to cook. As we left, she said, “A thousand years. A thousand children,” and pressed fifty-one rupees into Rajinder’s hands.

Then there was the long bus ride to Bursa. The roads were so bad that I kept being jolted awake, and my sleep became so fractured that I dreamed of the bus ride and being awakened. And in the village I saw grimy hens peering into the well, and women for whom I posed demurely in the courtyard. They sat in a circle around me and murmured compliments. My head and eyes were covered as they had been the night before, and as I stared at the floor, I fell asleep. I woke an hour later to their praise of my modesty. That night, in the dark room at the rear of the house, I was awakened by Rajinder’s digging between my legs, and although he tried to be gentle, I just wished it over. His face, flat and distorted, was above me, and his hands raised my nipples cruelly, resentful of being cheated, even though I never heard anger in Rajinder’s voice. He was always polite. Even in bed he was formal. “Could you get on all fours, please?”

So heavy and still did I feel on the first night in our new rooftop home, watching Rajinder sleep on the moonlight-soaked mattress, that I wanted the earth and sky to stop turning and for it always to be night. I did not want dawn to come and the day’s activities to start again. I did not want to have to think and react to the world. I fell asleep then, only to wake in panic an hour later at the thought of the obscure life I would lead with Rajinder. Think slowly, I told myself, looking at Rajinder asleep with an arm thrown over his eyes. Slowly. I remembered the year between my B.A. and B.Ed., when, through influence, I got a job as a typist in a candle factory. For nearly a month, upon reaching home after work, I wanted to cry, for I was terrified at the idea of giving up eight hours a day, a third of my life, to typing letters concerning supplies of wax. And then one day I noticed that I no longer felt afraid. I had learned to stop thinking. I floated above the days.

In the morning I had a fever, and the stillness it brought with it spread into the coming days. It hardened around me, so that I did not feel as if I were the one making love or cooking dinner or going home to see Ma and Pitaji and behaving there as I always had. No one guessed it was not me. Nothing could break through the stillness, not even Rajinder’s learning to caress me before parting my legs, or my growing to know all the turns of the colony’s alleys and the shopkeepers calling me by name.

Winter turned into spring, and the trees in the park swelled green. Rajinder was thoughtful and generous. Traveling for conferences to Baroda, Madras, Jaipur, Bangalore, he always brought back saris or other gifts. The week I had malaria, he came home every lunch hour and cooked gruel for me. On my twenty-sixth birthday he took me to the Taj Mahal, and arranged for my family to be hidden in the flat when we returned in the evening. What a good man, I thought then, watching him standing proudly in a corner. What a good man, I thought, and was frightened, for that was not enough. I knew I needed something else, but I did not know what. Being his wife was not so bad. He did not make me do anything I did not want to, except make love, and even that was sometimes pleasant. I did not mind his being in the flat, and being alone is difficult. When he was away on his trips, I did not miss him, and he, I think, did not miss me, for he never mentioned it.

Summer came, and hot winds swept up from the Rajasthani deserts. The old cows that wander unattended on Delhi’s streets began to die. The corpses lay untouched for a week sometimes; their tongues swelled and, cracking open the jaw, stuck out absurdly.

The heat was like a high-pitched buzzing that formed a film between flesh and bone, so that my skin felt thick and rubbery and I wished that I could just peel it off. I woke at four every morning to have an hour when breathing air would not be like inhaling liquid. By five the eastern edge of the sky was too bright to look at, even though the sun had yet to appear. I bathed both before and after breakfast and again after doing laundry but before lunch. As June progressed, and the very air seemed to whine under the heat’s stress, I stopped eating lunch. Around two, before taking my nap, I would pour a few mugs of water on my head. I liked to lie on the bed imagining that the monsoon had come. Sometimes this made me sad, for the smell of wet earth and the sound of rain have always made me feel as if I have been waiting for someone all my life and that person has not yet come. I dreamed often of living near the sea, in a house with a sloping red roof and bright blue window frames, and woke happy, hearing water on sand.

And so the summer passed, slowly and vengefully, until the last week of June, when The Times of India began its countdown to the monsoon, and I woke one afternoon in love with my husband.

I had returned home that day after spending two weeks with my parents. Pitaji had had a mild heart attack, and I took turns with Ma and Asha being with him in Safdarjung Hospital. The heart attack was no surprise, for Pitaji had become so fat that even his largest shirts had to be worn unbuttoned. So when I opened the door late one night and saw Asha with her fist up, ready to start banging again, I did not have to be told that Pitaji had woken screaming that his heart was breaking.

While I hurried a sari and blouse into a plastic bag, Asha leaned against a wall of our bedroom, drinking water. It was three. Rajinder, in his undershirt and pajama pants, sat on the bed’s edge and stared at the floor. I felt no fear, perhaps because Asha had said the heart attack was not so bad, or perhaps because I just did not care. The rushing and the banging on the doors appeared to be the properly melodramatic behavior when one’s father might be dying.

An auto rickshaw was waiting for us downstairs, triangular, small, with plasticized cloth covering its frame. It seemed like a vehicle for desperate people. Before getting in, I looked up and saw Rajinder. He was leaning against the railing. The moon was yellow and uneven behind him. I waved and he waved back. Such formalities, I thought, and then we were off, racing through dark, abandoned streets.

“Ma’s fine. He screamed so loud,” Asha said. She is a few inches taller than I am, and although she too is not pretty, she uses makeup that gives angles to her round face. Asha sat slightly turned on the seat so that she could face me. “A thousand times we told him, lose weight,” she said, shaking her head impatiently. “When the doctor gave him that diet, he said, ‘Is that before or after breakfast?’” She paused and added in a tight whisper, “He’s laughing now.”

I felt lonely sitting there while the city was silent and dark and we talked of our father without concern. “He wants to die,” I said softly. I enjoyed saying such serious words. “He is so unhappy. I think our hopes are made when we are young, and we can never adjust them to the real world. He was nearly national champion in wrestling, and for the last thirty-seven years he has been examining government schools to see that they have the right PE equipment. He loves eating, and that is as fine a way to die as any.”

“If he wants to die, wonderful; I don’t like him. But why is he making it difficult for us?”

Her directness shocked me and made me feel that my sentimentality was dishonest. The night air was still bitter from the evening traffic. “He is a good man,” I said unsteadily.

“The way he treated us all. Ma is like a slave.”

“They are just not good together. It’s no one’s fault.”

“How can it be no one’s fault?”

“His father was an alcoholic.”

“How long can you use your parents as an excuse?”

I did not respond at first, for I thought Asha might be saying this because I had always used Ma and Pitaji to explain away my failures. Then I said, “Look how good he is compared with his brothers. He must have had something good inside that let him be gentler than them. We should love him for that part alone.”

“That’s what he is relying on. It’s a big world. A lot of people are worth loving. Why love someone mediocre?”

Broken glass was in the hallways of the hospital, and someone had urinated in the elevator. When we came into the yellow room that Pitaji shared with five other men, he was asleep. His face looked like a shiny brown stone. He was on the bed nearest the window. Ma sat at the foot of his bed, her back to us, looking out at the fading night.

“He will be all right,” I said.

Turning toward us, Ma said, “When he goes, he wants to make sure we all hurt.” She was crying. “I thought I did not love him, but you can’t live this long with a person and not love just a bit. He knew that. When they were bringing him here, he said, ‘See what you have done, demoness?’”

Asha took Ma away, still crying. I spent the rest of the night dozing next to his bed.

We fell into a pattern. Ma usually came in the morning, around eight, and I replaced her, hours later. Asha would take my place at three and stay until six, and then Ma’s brother or his sons would stay until Ma returned.

I had thought I would be afraid of being in the hospital, but it was very peaceful. Pitaji slept most of every day and night because of the medicines, waking up every now and then to ask for water and quickly falling asleep again. A nice boy named Rajeeve, who also was staying with his father, told me funny stories about his family. At night Asha and I slept on adjacent cots on the roof. Before she went to bed, she read five pages of an English dictionary. She had been accepted into a postdoctoral program in America. She did not brag about it as I would have. Like Ma, Asha worked very hard, as if that were the only way to live and one needn’t talk about it, and as if, like Ma, she assumed that we were all equally fortunate. But sometimes Asha would shout a word at me — “Alluvial” — and then look at me as if she was waiting for a response. Once, Rajinder came to drop off some clothes, but I was away. I did not see him or talk with him for the two weeks.

Sometimes Pitaji could not sleep and he would tell me stories of his father, a schoolteacher, who would take Pitaji with him to the saloon, so that someone would be there to guide him home when he was drunk. Pitaji was eight or nine then. His mother beat him for accompanying Dadaji, but Pitaji, his breath sounding as if it were coming through a wet cloth, said that he was afraid Dadaji would be made fun of if he walked home alone. Pitaji told the story quietly, as if he were talking about someone else, and as soon as he finished, he changed the subject. I could not tell whether Pitaji was being modest or was manipulating me by pretending to be modest.

He slept most of the day, and I sat beside him, listening to his little green transistor radio. The June sun filled half the sky, and the groundskeeper walked around the courtyard of the hospital in wide circles with a water bag as large as a man’s body slung over one shoulder. He was sprinkling water to keep the dust settled. Sometimes I hummed along to Lata Mangeshkar or Mohammed Ra singing that grief is no letter to be passed around to whoever wants to read.

There were afternoons when Pitaji became restless and whispered conspiratorially that he had always loved me most. Watching his face, puffy from the drugs, his nose broad and covered with blackheads, as he said again that Ma did not talk to him or that Asha was indifferent to his suffering, I felt exhausted. When he complained to Asha, “Your mother doesn’t talk to me,” she answered, “Maybe you aren’t interesting.”

Once, four or five days before we took him home, as he was complaining, I got up from the chair and went to look out the window. Beyond the courtyard was a string of yellow-and-black auto rickshaws waiting under eucalyptus trees. I wanted desperately for Asha to come, so that I could leave, and bathe, and lie down to dream of a house with a red-tiled roof near the sea. “You must forgive me,” Pitaji said as I looked out the window. I was surprised, for I could not remember his ever apologizing. “I sometimes forget that I will die soon and so act like a man who has many years left.” I felt frightened, for I suddenly wanted to love him but could not trust him enough.

From then until we went home, Pitaji spoke little. Once, I forgot to bring his lunch from home and he did not complain, whereas before he would have screamed and tried to make me feel guilty. A few times he began crying to himself for no reason, and when I asked why, he did not answer.

Around eleven the day Pitaji was released, an ambulance carried Ma, Pitaji, and me to the Old Vegetable Market. Two orderlies, muscular men in white uniforms, carried him on a stretcher up three flights of stairs into the flat. The flat had four rooms and was part of a circle of dilapidated buildings that shared a courtyard. Fourteen or fifteen people turned out to watch Pitaji’s return. Some of the very old women, sitting on cots in the courtyard, asked who Pitaji was, although he had lived there for twenty years. A few children climbed into the ambulance and played with the horn until they were chased out.

The orderlies laid Pitaji on the cot in his bedroom and left.

The room was small and dark, smelling faintly of the kerosene with which the bookshelves were treated every other week to prevent termites. Traveling had tired him, and he fell asleep quickly. He woke as I was about to leave. Ma and I were speaking in whispers outside his bedroom.

“I am used to his screaming,” Ma said. “He won’t get any greasy food here. But once he can walk . . .”

“He seems to have changed.”

“Right now he’s afraid. Give him a few days and he’ll return to normal. People can’t change, even if they want to.”

“What are you saying about me?” Pitaji tried to call out, but his voice was like wind on dry grass.

“You want something?” Ma asked.

“Water.”

As I started toward the fridge, Ma said, “Nothing cold.” The clay pot held only enough for one glass. I knelt beside the cot and helped Pitaji rise to a forty-five-degree angle. His heaviness and the weakness of his body moved me. Like a baby holding a bottle, Pitaji held the glass with both hands and made sucking noises as he drank. I lowered him when his shoulder muscles slackened. His eyes were red, and they moved about the room slowly. I wondered whether I could safely love him if I did not reveal my feelings.

“More?” he asked.

“Only fridge water,” I said. Ma was clattering in the kitchen. “I am going home.”

“Rajinder is good?” He looked at the ceiling while speaking. “Yes,” I said. A handkerchief of light covered his face, and faint blue veins, like delicate, almost translucent roots, showed through the skin of his forehead. “The results for his exam came,” I told him. “He will be promoted. He was second in Delhi.” Pitaji closed his eyes. “Are you hurting?” I asked.

“I feel tired.”

I, too, felt tired. I did not know what to do with my new love or whether it would last. “That will pass, the doctor said. Why don’t you sleep?”

“I don’t want to,” he said loudly, and my love drew back.

“I must go,” I said, but made no move to.

“Forgive me,” he said, and again I was surprised. “I am not worried usually, but I get frightened sometimes. Sometimes I dream that the heaviness is dirt. What an awful thing to be a Muslim or a Christian.” He spoke slowly, and I felt my love returning. “Once, I dreamed of Baby’s ghost.”

“Oh.”

“He was eight or nine and did not recognize me. He did not look like me. I was surprised, because he was my son and I had always expected him to look like me.”

I felt exhausted. Something about the story was both awkward and polished, which indicated deceit. But Pitaji never lied completely, and the tiring part was not knowing. “God will forgive you,” I said. But why should he? I thought. Why do people always think hurting others is all right, as long as they hurt themselves as well?

“Your mother has not.”

I placed my hand on his, knowing that I was already in the trap. “Shhh.”

“At your birthday, when she sang, I said, ‘If you sing like that for me every day, I will love you forever.’”

“She loves you. She worries about you.”

“That’s not the same. When I tell Asha this, she tells me I’m sentimental. Ratha loved me once. But she cannot forgive. What happened so long ago, she cannot forgive.” He was blinking rapidly, preparing to cry. “But that is a lie. She does not love me because” — and he began crying without making a sound — “I did not love her for so long.”

“Shhh. She loves you. She was just saying, ‘Oh, I love him so. I hope he gets better, for I love him so.’”

“Ratha could have loved me a little. She could have loved me twenty for my eleven.” He was sobbing.

“Shhh. Shhh. Shhh.” I wanted to run away, far away, and be someone else.

The sleep that afternoon was like falling. I lay down, closed my eyes, and plummeted. I woke as suddenly, without any half memories of dreams, into a silence that meant that the power was gone, and the ceiling fan was still, and the fridge was slowly warming.

It was cool, I noticed, unsurprised by the monsoon’s approach — for I was in love. The window curtains stirred, revealing TV antennas and distant gray clouds and a few sparrows wheeling in the air. The sheet lay bunched at my feet. I felt gigantic. My legs stretched thousands of miles; my head rested in the Himalayas and my breath brought the world rain. If I stood up, I would scrape against the sky. But I was small and compact and distilled, too. I am in love, I thought, and a raspy voice echoed the words in my head, causing me to panic and lose my sense of omnipotence for a moment. I will love Rajinder slowly and carefully and cunningly, I thought, and suddenly felt peaceful again, as if I were a lake and the world could only form ripples on my surface, while the calm beneath continued in solitude. Time seemed endless, and I would surely have the minutes and seconds needed to plan a method of preserving this love, like the feeling in your stomach when you are in a car going swiftly down a hill. Don’t worry, I thought, and I no longer did. My mind obeyed me limply, as if a terrible exhaustion had worn away all rebellion.

I got up and swung my legs off the bed. I was surprised that my love was not disturbed by my physical movements. I walked out onto the roof. The wind ruffled the treetops and small, gray clouds slid across the cool, pale sky. On the street, eight or nine young boys played cricket. The school year had just started, and the children played desperately, as if they must run faster, leap higher, to recapture the hours spent indoors.

Tell me your stories, I would ask him. Pour them into me, so that I know everything you have ever loved or been scared of or laughed at. But thinking this, I became uneasy and feared that when I actually saw him, my love would fade and I would find my tongue thick and unresponsive. What should I say? I woke this afternoon in love with you. I love you too, he would answer. No, no, you see, I really love you. I love you so much that I think anything is possible, that I will live forever. Oh, he would say, and I would feel my love rush out of me.

I must say nothing at first, I decided. Slowly I will win his love. I will spoil him, and he will fall in love with me. And as long as he loves me, I will be able to love him. I will love him like a camera that closes at too much light and opens at too little, so his blemishes will never mar my love.

I watched the cricket game to the end. I felt very happy standing there, as if I had just discovered some profound secret. When the children dispersed, around five, I knew Rajinder would be home soon.

I bathed and changed into new clothes. I stood before the small mirror in the armoire as I dressed. Uneven brown aureoles, a flat stomach, the veins in my feet like pen marks. Will this be enough? I wondered. Once he loves me, I told myself. I lifted my arms and tried to smell the plantlike odor of my perspiration. I wore a bright-red cotton sari. What will I say first? Namaste — How was your day? With the informal “you.” How was your day? The words felt strange, for I had never before used the informal with him. I had, as a show of modesty, never even used his name, except on the night before my wedding, when I said it over and over to myself to see how it felt — like nothing. Now when I said “Rajinder,” the three syllables had too many edges, and again I doubted that he would love me. “Rajinder, Rajinder,” I said rapidly several times, until it no longer felt strange. He will love me because to do otherwise would be too lonely, because I will love him so. I heard a scooter stopping outside the building and knew that he had come home.

My stomach was small and hard as I walked onto the roof. The dark clouds made it appear as if it were seven instead of five thirty. I saw him roll the scooter into the courtyard and I felt happy. He parked the scooter and took off his gray helmet. He combed his hair carefully to hide the growing bald spot. The deliberateness of the way he tucked the comb into his back pocket overwhelmed me with tenderness. We will love each other gently and carefully, I thought.

I waited for him to rise out of the stairwell. The wind made my petticoat, drying on the clothesline, go clap, clap. I was smiling rigidly. How was your day? How was your day? Was your day good? Don’t be so afraid, I told myself. What does it matter how you say hello? Tomorrow will come, and the day after, and the day after that.

His steps sounded like a shuffle. Leather rubbing against stone. Something forlorn and steady in the sound made me feel as if I were twenty years older and this were a game I should stop or I might get hurt. Rajinder, Rajinder, Rajinder, how are you?

First the head: oval, high forehead, handsome eyebrows. Then the not so broad but not so narrow shoulders. The top two buttons of the cream shirt were opened, revealing an undershirt and some hair. The two weeks had not changed him, yet seeing him, I felt as if he were somehow different, denser.

“How was your day?” I asked him, while he was still in the stairwell.

“All right,” he said, stepping onto the balcony. He smiled, and I felt happy. His helmet was in his left hand and he had a plastic bag of mangoes in his right. “When did you get home?” The “you” was informal, and I felt a surge of relief. He will not resist, I thought.

“A little after three.”

I followed him into the bedroom. He placed the helmet on the windowsill and the mangoes in the refrigerator. His careful way of folding the plastic bag before placing it in the basket on top of the refrigerator moved me.

“Your father is fine?”

I did not say anything.

Rajinder walked to the sink on the outside bathroom wall.

I stood in the bedroom doorway and watched him wash his hands and face with soap. Before putting the chunk of soap down, he rinsed it of foam, and only then did he pour water on himself. He used a thin washcloth hanging on a nearby hook for drying.

“Yes,” I finally answered.

“What did the doctor say?” he asked, turning toward me.

He is like a black diamond, I thought.

She said, I love you. “She said he must lose weight and watch what he eats. Nothing fattening. That he should rest at first and then start exercising. Walking would be best.”

I watched Rajinder hang his shirt by the collar tips on the clothesline, and suddenly felt sad at the rigorous attention to detail necessary to preserve love. Perhaps love is different in other countries, I thought, where the climate is cooler, where a woman can say her husband’s name, where the power does not go out every day, where not every clerk demands a bribe. That must be a different type of love, I thought, where one can be careless.

“It will rain tonight,” he said, looking at the sky. The eucalyptus trees shook their heads side to side. “The rain always makes me feel as if I am waiting for someone,” I said, and then regretted saying it, for Rajinder was not paying attention, and perhaps it could have been said better. “Why don’t you sit on the balcony, and I will make sherbet to drink?”

He took a chair and the newspaper with him. The fridge water was warm, and I felt sad again at the need for constant vigilance. I made the drink and gave him his glass. I placed mine on the floor and went to get a chair. A fruit seller passed by, calling out in a reedy voice, “Sweet, sweet mangoes. Sweeter than first love.” On the roof directly across, a boy seven or eight years old was trying to fly a large purple kite. I sat down beside Rajinder and waited for him to look up so that I could interrupt his reading. When Rajinder looked away from the paper to take a sip of sherbet, I asked, “Did you fly kites?”

“A little,” he answered, looking at the boy. “Ashok bought some with the money he earned, and he would let me fly them sometimes.” The fact that his father had died when he was young made me hopeful, for I thought that one must suffer and be lonely before one can love.

“Do you like Ashok?”

“He is my brother,” he answered, shrugging and looking at the newspaper. He took a sip of the sherbet. I felt hurt, as if he had reprimanded me.

I waited until seven for the power to return; then I gave up and started to prepare dinner in the dark. I sat beside Rajinder until then. I felt happy and excited and frightened being beside him. We spoke about Asha’s going to America, though Rajinder did not want to talk about this. Rajinder had been the most educated member of his and my family and resented the idea that Asha would soon assume that position.

As I cooked in the kitchen, Rajinder sat on the balcony and listened to the radio. “This is Akashwani,” the announcer said, and then music like horses racing played whenever a new program was about to start. It was very hot in the kitchen, and every now and then I stepped onto the roof to look at the curve of Rajinder’s neck and confirm that the tenderness was still there.

We ate in the living room. Rajinder chewed slowly and was mostly silent. Once he complimented me on my cooking. “What are you thinking?” I asked. He appeared not to have heard. Tell me! Tell me! Tell me! I thought, and was shocked by the urgency I felt.

A candle on the television made pillars of shadows rise and collapse on the walls. I searched for something to start a conversation with. “Pitaji began crying when I left.”

“You could have stayed a few more days,” he said.

“I did not want to.” I thought of adding, “I missed you,” but that would have been a lie, and I would have felt embarrassed saying it, when he had not missed me.

Rajinder mixed black pepper with his yogurt. “Did you tell him you would visit soon?”

“No. I think he was crying because he was lonely.”

“He should have more courage.” Rajinder did not like Pitaji, thought him weak-willed, although Rajinder had never told me that. He knew Pitaji drank, but Rajinder never referred to this, for which I was grateful. “He is old and must remember that shadows creep into one’s heart at his age.” The shutter of a bedroom window began slamming, and I got up to latch it shut.

I washed the dishes while Rajinder bathed. When he came out, dressed in his white kurta pajamas, with his hair slicked back, I was standing near the railing at the roof’s edge, looking out beyond the darkness of our neighborhood at a distant ribbon of light. I was tired from the nervousness I had been feeling all evening. Rajinder came up behind me and asked, “Won’t you bathe?” I suddenly doubted my ability to guard my love. Bathe so we can have sex. His words were too deliberately full of the unsaid, and so felt vulgar. I wondered if I had the courage to say no and realized I didn’t. What kind of love can we have? I thought.

I said, “In a little while. Comedy hour is about to start.” We sat down on our chairs with the radio between us and listened to Maurya’s whiny voice. This week he had gotten involved with criminals who wanted to go to jail to collect the reward on themselves. The canned laughter gusted from several flats. When the music of the racing horses marked the close of the show, I felt hopeful again, and thought Rajinder looked very handsome in his kurta pajamas.

I bathed carefully, pouring mug after mug of cold water over myself until my fingertips were wrinkled and my nipples erect. The candlelight made the bathroom orange and my skin copper. I washed my pubis carefully to make sure no smell remained from urinating. Rubbing myself dry, I became aroused. I wore the red sari again, with a new blouse, and no bra, so that my nipples would show.

I came and stood beside Rajinder, my arm brushing against his kurta sleeve. Every now and then a raindrop fell, and I wondered if I were imagining it. On balconies and roofs all around us I could see the dim figures of men, women, and children waiting for the first rain. “You look pretty,” he said. Somewhere Lata Mangeshkar sang with a static-induced huskiness. The street was silent. Even the children were hushed. As the wind picked up, Rajinder said, “Let’s close the windows.”

The wind coursed along the floor, upsetting newspapers and climbing the walls to swing on curtains. A candle stood on the refrigerator. As I leaned over to pull a window shut, Rajinder pressed against me and cupped my right breast. I felt a shock of desire pass through me. As I walked around the rooms shutting windows, he touched my buttocks, pubis, stomach.

When the last window was closed, I waited for a moment before turning around, because I knew he wanted me to turn around quickly. He pulled me close, with his hands on my buttocks. I took his tongue in my mouth. We kissed like this for a long time.

The rain began falling, and we heard a roar from the people on the roofs nearby. “The clothes,” Rajinder said, and pulled away.

We ran out. We could barely see each other. Lightning bursts would illuminate an eye, an arm, some teeth, and then darkness would come again. We jerked the clothes off and let the pins fall to the ground. We deliberately brushed roughly against each other. The raindrops were like thorns, and we began laughing. Rajinder’s shirt had wrapped itself around and around the clothesline. Wiping his face, he knocked his glasses off. As I saw him crouch and fumble around helplessly for them, I felt such tenderness that I knew I would never love him as much as I did at that moment. “The wind in the trees,” I cried out, “it sounds like the sea.”

We slowly wandered back inside, kissing all the while. He entered me like a sigh. He suckled on me and moved back and forth and side to side, and I felt myself growing warm and loose. He sucked on my nipples and held my waist with both hands. We made love gently at first, but as we both neared climax, Rajinder began stabbing me with his penis and I came in waves so strong that I felt myself vanishing. When Rajinder sank on top of me, I kept saying, “I love you. I love you.”

“I love you too,” he answered. Outside, the rain came in sheets and the thunder was like explosions in caverns.

The candle had gone out while we made love, and Rajinder got up to light it. He drank some water and then lay down beside me. I wanted some water too, but did not want to say anything that would make him feel bad about his thoughtlessness. “I’ll be getting promoted soon. Minaji loves me,” Rajinder said. I rolled onto my side to look at him. He had his arms folded across his chest. “Yesterday he said, ‘Come, Rajinderji, let us go write your confidential report.’” I put my hand on his stomach, and Rajinder said, “Don’t,” and pushed it away. “I said, ‘Oh, I don’t know whether that would be good, sir.’” He laughed and patted me on the back. “What a nincompoop. If it weren’t for the quotas, he would never be manager.” Rajinder chuckled. “I’ll be the youngest bank manager in Delhi.” I felt cold and tugged a sheet over our legs. “In college I had a schedule for where I wanted to be by the time I was thirty. By twenty-two I became an officer; soon I’ll be a manager. I wanted a car, and we’ll have that in a year. I wanted a wife, and I have that.”

“You are so smart.”

“Some people in college were smarter. But I knew exactly what I wanted. A life is like a house. One has to plan carefully where all the furniture will go.”

“Did you plan me as your wife?” I asked, smiling.

“No. I had wanted at least an M.A., and someone who worked, but Mummy didn’t approve of a daughter-in-law who worked. I was willing to change my requirements. Because I believe in moderation, I was successful. Everything in its place. And pay for everything. Other people got caught up in love and friendship. I’ve always felt that these things only became a big deal because of the movies.”

“What do you mean? You love me and your mother, don’t you?”

“There are so many people in the world that it is hard not to think that there are others you could love more.”

Seeing the shock on my face, he quickly added, “Of course I love you. I just try not to be too emotional about it.”

The candle’s shadows on the wall were like the wavery bands formed by light reflected off water. “We might even be able to get a foreign car.”

The second time he took me that night, it was from behind. He pressed down heavily on my back and grabbed my breasts.

I woke at four or five. The rain scratched against the windows and a light like blue milk shone along the edges of the door. I was cold and tried to wrap myself in the sheet, but it was not large enough.