12 Irish-Americans to Read on St. Patrick’s

St. Patrick’s Day is traditionally a feast to celebrate the arrival of Christianity in Ireland, though today people living, well, just about anywhere can confirm it’s also a secular event celebrated with parades, pints and a scramble for green clothing. There’s a reason Irish culture resonates globally (and no, it’s not just as an excuse to drink): there are people of Irish descent in almost every corner of the globe. The Irish Diaspora is huge. An estimated 80 million people worldwide claim Irish descent, with 35 million living in the United States alone. Irish is the second-most common ancestry among Americans, behind German, and it often jumps to first place along the Eastern seaboard.

Yet the idea of celebrating Irish culture is relatively new in America. Irish-Americans have long faced discrimination from the WASP power brokers, whether it was the anti-Catholic legislation of the “Know Nothing” party or the proverbial signs that once warned job applicants “no Irish need apply.”

These days, the US readily champions the contributions of Irish immigrants and their descendants. And perhaps in no sector have the contributions been greater than in the arts. Literature, in particular, has been enriched by Irish-American writers, with some of our greatest novelists, poets and short story authors claiming an Irish connection. And since St. Patrick’s Day has been elevated to new heights on this side of the Atlantic, we thought, rather than the traditional list of Irish authors, how about a toast to Irish-Americans?

Whether you’re one of the millions who claim Irish ancestry or you just want to read a good book, here are 12 Irish-American authors for St. Patrick’s Day.

1. Alice McDermott

Born into an Irish Catholic family in Brooklyn in 1953, Alice McDermott is known for atmospheric novels like the National Book Award-winning Charming Billy (1997) — the elegiac story of a man who slowly drinks himself to death after losing his first love. McDermott plumbed her family legacy to capture the Irish-American community of 1930s Brooklyn. As she told the New Yorker, “the sensibility, and much of the language, belongs to my parents’ generation.”

2. J.P. Donleavy

Donleavy was born and raised in New York City, but it wasn’t until after he moved to his parents’ home country to study at Trinity College Dublin that he penned his most famous work, The Ginger Man (1955). The novel, which was published by Grove, the same press that would bring out Lolita that same year, was banned upon publication in both the US and Ireland because of the racy, debaucherous activity of its protagonist, Sebastian Dangerfield.

3. Mary McCarthy

The author of The Group generally avoided writing about her experience growing up in a strict Irish-American household, but she did allow one notable exception: her memoir, Memories of a Catholic Girlhood. Just as in her novels, McCarthy skewered ideologies and practices she disapproved of, and many in the Irish-American community weren’t happy with the results. After excerpts were published in The New Yorker, the publication received a flood of outraged letters from Irish-Americans who felt like she’d portrayed them too harshly.

4. Matthew Thomas

Thomas broke onto the literary scene in 2014 with his debut novel, We Are Not Ourselves, about an Irish-American girl named Eileen Tumulty who is trying to achieve “the American dream” in New York City after World War II. Thomas, whose grandparents are from Cavan and Galway and who took step dancing classes as a kid, has no plans to stop writing about his heritage. He told Irish America,“I think I’ll end up writing about the Irish a lot, I have so much respect and admiration for the Irish in New York. There’s such an unbelievable amount of vitality. Even several generations in they retain this identity.”

5. Pete Hamill

Hamill is the oldest of seven children born to two Catholic immigrants from Belfast, Northern Ireland. A reporter, memoirist, and fiction writer, he is the author of 10 novels and over 100 short stories. Many of his works, such as Snow in August, take place in the immigrant enclaves of his childhood. Hamill was friends with another famous Irish-American, Robert Kennedy, and his essay for the Village Voice about witnessing his friend’s assassination is worth a read.

10 Hidden Gems of Irish Literature

6. John O’Hara

Born into a wealthy family in 1905, John O’Hara was more advantaged than most Irish-Americans at the turn of the century. Yet the prevailing prejudice against the Irish meant that the WASP-y Pensylvania town where the O’Haras lived in excluded them from society. These childhood experiences spurred him to write novels like Appointment in Samarra and Butterfield 8, which explore America’s insidious class divisions and artificial social mores.

7. Colum McCann

McCann grew up in Dublin but moved to New York in 1986, at the age of twenty-one, and now holds dual citizenship. (Are we stretching things here? So be it. Embrace the holiday spirit.) His 2009 novel, Let The Great World Spin, won the National Book Award for Fiction. The story weaves together various narratives, from a Catholic priest to a prostitute on trial, all set against the backdrop of New York City in a summer during the Vietnam War.

8. Tana French

French is also a dual Irish-American citizen, though she followed the opposite route from McCann’s: born in Vermont, she’s lived in Dublin since attending college at Trinity in the 1990s. She honored her adopted city by making it the setting for her award-winning Dublin Murder Squad series, in which she elevates suspenseful police procedurals with astute social commentary about post-crash Ireland.

9. Peter Quinn

Quinn’s website, NewYorkPaddy.com, tells you all you need to know about how proud this author is of his Irish-American heritage. It’s a pride he put to good use in his novel The Banished Children of Eve, which won the 1995 American Book Award. In the novel, Quinn looks at New York City’s fraught immigration history by bringing to life the tulmultous week of the Draft Riots of 1863.

10. Kathleen Donohoe

The Irish have a long-standing presence in America’s fire-fighting forces, as Kathleen Donohoe knows well. She used her own experience growing up in a family of fire-fighters as inspiration for her debut novel Ashes of Fiery Weather. The novel spans six generations of Irish-American women, from those who fled the Great Famine to those who faced 9/11.

11. Frank McCourt

Angela’s Ashes, Frank McCourt’s lyrical, moving, and funny memoir, reads more like a novel than a work of non-fiction. As he describes his journey from Brooklyn to Limerick and back to Manhattan, McCourt confirms the struggles that were characteristic of the Irish-American story without trading on the cliches that helped to keep his people down.

12. Eileen Battersby

You might be surprised to learn that the chief literary critic for the Irish Times is an American from sunny California. But Eileen Battersby has doubled down on the Irish half of her Irish-American heritage, having permanently settled in County Meath. The author of two books of non-fiction completed her first novel in 2016; Teethmarks on My Tongue is a coming-of-age story about a precocious yet emotionally isolated young girl who sees her mother shot and killed on the street.

The Man Booker International Prize Long List Is Out

Check out the 2017 “Man Booker International Dozen”

The thirteen finalists for the Man Booker International Prize have been announced. Amos Oz and Yan Lianke headline a list that includes writers from countries around the world including Argentina, Israel, Albania, and France.

The International Prize is awarded to a fiction book translated into English and published in the United Kingdom. The winning author and translator each will win £25,000. Nick Barley, director of the Edinburgh International Book Festival, chaired the panel of five judges who whittled down an initial group of 126 books to the final 13.

The six book shortlist will be out April 20th and the winner will be released on June 14th. To learn more about the prize and judging process, check out the Man Book press release here.

And here is the full long list:

Author (nationality), Translator, Title (imprint)

  • Mathias Enard (France), Charlotte Mandell, Compass (Fitzcarraldo Editions)
  • Wioletta Greg (Poland), Eliza Marciniak, Swallowing Mercury (Portobello Books)
  • David Grossman (Israel), Jessica Cohen, A Horse Walks Into a Bar (Jonathan Cape)
  • Stefan Hertmans (Belgium), David McKay, War and Turpentine (Harvill Secker)
  • Roy Jacobsen (Norway), Don Bartlett, Don Shaw, The Unseen (Maclehose)
  • Ismail Kadare (Albania), John Hodgson, The Traitor’s Niche (Harvill Secker)
  • Jon Kalman Stefansson (Iceland), Phil Roughton, Fish Have No Feet (Maclehose)
  • Yan Lianke (China), Carlos Rojas, The Explosion Chronicles (Chatto & Windus)
  • Alain Mabanckou (France), Helen Stevenson, Black Moses (Serpent’s Tail)
  • Clemens Meyer (Germany), Katy Derbyshire, Bricks and Mortar (Fitzcarraldo Editions)
  • Dorthe Nors (Denmark), Misha Hoekstra, Mirror, Shoulder, Signal (Pushkin Press) (Read our interview with Nors here)
  • Amos Oz (Israel), Nicholas de Lange, Judas (Chatto & Windus)
  • Samanta Schweblin (Argentina), Megan McDowell, Fever Dream (Oneworld) (Read our review of Fever Dream here and a short story by Schweblin in Recommended Reading here.)

Midweek Links from Around the Web (March 16th)

Spring Is ‘Americanah’ Season in NYC

The city selects Chimamanda Ngozi Adichie’s novel about Nigerian immigrants for its inaugural “One Book, One New York” program

Life in the big city can be lonely and isolating, and yes, it often seems all but impossible to start up a conversation with a neighbor who’s been living across the hall for five years, never mind your fellow straphangers or that stranger in the coffee shop. But what if we were all reading the same book? And I’m sorry, William H. Macy, but what if that book wasn’t A Tree Grows in Brooklyn? Today, “One Book, One New York” — the book club spearheaded by the Mayor’s Office and Buzzfeed Books, billed as “the largest community reading program in the country” — announced that after tallying up almost 50,000 votes, it was ready to name the book all of NYC will soon be reading:

Americanah, by Chimamanda Ngozi Adichie

The novel tells the story of Ifemelu and Obinze, two young Nigerians who get out from under the thumb of military rule — Ifemelu to New York City and academia, Obinze to London and the limbo of undocumented immigrants. Later in life, they reunite in their homeland. For the rest, you’ll need to get to your local bookstore or library branch. (Penguin Random House is donating copies; Scribd is offering a free audio book.)

10 Books on the American Immigrant Experience

Americanah was first released by Anchor Books (Knopf) in 2014. It won the National Book Critics Circle Award for Fiction that year and was named a top-10 book of the year by The New York Times. In a video released by “One Book, One New York,” Chimamanda Ngozi Adichietold told the city what it meant that her book had been selected as Gotham’s inaugural read.

And in case you’re worried that this is going to be like that book club where everyone sort of reads a few chapters and then forgets about the book as soon as the wine comes out, don’t be. This is only the start of a season of events dedicated to Americanah and the conversation it’s sure to inspire. Along with the book selection, “One Book, One New York” released a calendar of events, including readings, festival events, salons, meet-ups, movie screenings and a grande finale at the New York Public Library.

The runners-up in the competition were Between the World and Me by Ta-Neshi Coates, The Brief Wondrous Life of Oscar Wao by Junot Díaz, A Tree Grows in Brooklyn by Betty Smith, and The Sellout by Paul Beatty. The celebrity nominators were Larry Wilmore, Giancarlo Esposito, Bebe Neuwirth (who nominated the winner), Danielle Brooks, and William H. Macy, the star of the 2007 film, Wild Hogs.

When you’re done with Americanah, why not read all the nominees?

Gary Lutz is a Master

Gary Lutz has made it perfectly clear that the sentence is where words go to feast or famine. The sentence is the great morality of his style, constructed from a vision so perfect that nothing else in the story matters. His sentences are the singular reason to read his work.

“You don’t make Marlon Brando learn his lines, you don’t make Slayer play clean guitar parts, and you don’t make Gary Lutz write a plot.”

Lutz’s newest book, Assisted Living, is really short. This is great if you’re like me and couldn’t get through his previous book, Divorcer, despite liking the increased prickliness and instant-by-instant success of whatever it is happens when Lutz twists words around into a certain order.

Really, if you’ve been following Lutz’s career thus far, you’ll notice little change in the quality of work. He still has a need to sum up an entire length of existence for the sake of scope or melodrama. In this book alone there’s,Life had harshened on her dearly, and All life aspires toward the sureness of erasure, you say? and literally twenty other times the word “life” appears in nestled alongside various forms of distorted syntax or verbiage.

He also still eschews narrative in favor of how those great sentences sound and feel next to one another. When he writes, “So, true: She was somewhere there in the physical hooey that went with being human. The love itself she could laugh off,” our takeaway is exactly what he’d planned on it being: the assonance of “hooey” and “human” in the first sentence and “love” and “laugh” in the second. That leads to comparison within each respective sentence and then friction as those two sets of “content words” (Lutz’s phrase, not mine) either expand or cancel each other out sitting alongside one another, depending on how you look at it.

He’s doing his tricks. Again, nothing new, but not because he’s any sort of old dog. He’s known forever how he wants to write, and he’s done it yet again. Assisted Living isn’t a trotting out of the same show as always, the last season of The Office or the newest Led Zeppelin remasters. It’s the writer who does something better than everyone else yet again demonstrating why it continues to be true.

From “Nothing Clarion Came of Her, Either” —

In a marriage, the deathly custom goes, you have to choose sides — yours or your spouse’s. My side had all the wobbliness on it, the debt forgivenness, the gastrointestinal meds that came with printouts saying: “IF YOU MISS A DOSE. . . .”

Her side had backbone in the penmanship, dollars dulling in CDs. Everything had finishes on it. Her parents came over to pamper our furniture, spoiling it rotten with pillows that foamily remembered how they’d taken every jab of my elbows.

People usually couldn’t place me, but certain cushions always could.

I would have anywise settled for any old chain of events, other than morning revoking the night before, the night before revoking the day, and the day no horn of plenty, either.

Though I know Lutz makes his stories by constructing workon one end and having a fully-realized style once it’s complete, reading Lutz’s work still feels like a sort of magic. His stories are craft over creation to the point where the craft becomes the creation.

He has a spark of invention, but it isn’t a flow of words or momentum as much as it’s a pointed reconceptualization of both language and thought. It’s classical music, not jazz.

That being said, these stories shouldn’t work. They’re just information dumps about children and exes and parents. It’s not quite verbal porn or masturbation, but it is a sort of dark, linguistic circus. It’s like every story is a mental transcript of a person with nothing but time to let each and every word overwhelm the senses.

All of these stories work, but “You Are Logged In As Marie” is the clear winner of this new tetralogy. More importantly, it’s the most successful of his latter-day, increasingly grumpy work. It’s a solid third of this brief chapbook, but it’s been wisely “Hempelized” into short sections, some spaces in which to breathe and parse out thoughts about the aforementioned topics (“an ex only if we let ex equal extinct.”). It’s almost scenic at points, which is incredible considering that Lutz is the sort of writer who once spent about 500 words talking pointedly about a single Sam Lipsyte sentence with no context to the story whatsoever.

From “You Are Logged In As Marie” —

This later one came to me not quite figured out. She looked hurriedly lovely enough at first.

She was a day-shift aide at a nursing home and would return to me with dental floss of all colors threaded thoughtfully through her hair. A resident had done it, she’d say. She would not want to wash it out just yet.

“Things don’t always have to be miracles,” she’d say.

Like most of some kind, she had lived and loved spottily, with lonesome turns of mind and an unsporting heart.

I took my messes and eases with her, but she turned out to be a lot like the others, the pharmaceuts, the vasalvagals.

Sign-offs for e-mails shifted downward from “Best” to “Take care” to “Best to take care.”

Weeks would warp themselves away from the year.

To an inquirer, I described the apartment as three sickrooms, kitchen, and bath.

The neutral duplicity in his work — that is, a strictly observable density and a heartfelt disconnect all at once — and the idea of an assumed narrative don’t necessarily lend themselves well to longer stories. Assisted Living has only a bit of that slog going on, points where the verbosity and obtuse grammar just steamroll any comprehension no matter how short the section — or story itself — may be. On the whole, however, this is Lutz’s tightest, most enjoyable whole work since Partial List of People to Bleach.

I read slowly, I reread, and I took little breaks. For a 37 page book. Reading it wasn’t work, but I was expected to bring something to the table. It wasn’t a free meal, nor should it be. Like with anything else related to Lutz, happiness is earned and never guaranteed.

Moments are the takeaway. I won’t forget many of the ticks throughout Lutz’s career — a man searching the carpet for a pubic hair in “Home, School, Office” or the professor with colitis in “Slops” talking about shitting on campus — and there are more here in this book that will come to me time and again when my days briefly twitch as they do for these characters.

Or, as Lutz himself might say it: My life has become momentary, but what have the moments become?

Why Wouldn’t You Be a Feminist?

Historical Fiction with a Global Sensibility

This week, the writer and broadcaster Kanishk Tharoor published Swimmer Among the Stars (FSG, 2017), his debut collection of short stories. Tharoor is the presenter of “Museum of Lost Objects,” a BBC radio series on cultural destruction in Iraq and Syria. His nonfiction has appeared in The New York Times, The Guardian, and elsewhere.

You can open Swimmer to any page and find a sentence worth quoting, a scenario worth remembering. Though the stories span the Battle of Magnesia, in which Rome defeated the Seleucid Empire, to a dystopian future in which the United Nations has been chased to a near-Earth orbit, Tharoor wears his erudition lightly, privileging poetry over political messaging. Lush, playful, and intoxicated by history, the book stuck with me long after I closed it.

I sat down with Tharoor to talk about his process and the historical episodes that inspired him.

David Busis: Tell me about the genesis of this collection.

Kanishk Tharoor: It is a collection of short stories that’s been accumulated over a long period of time. I wrote the oldest story, “Loss of Muzaffar,” when I was eighteen. The pieces often have very separate points of origin, but when I had a certain number of short stories that I liked, and when I put them together and sifted some out, it became clear to me that they were united by a tone and, I don’t want to say a melancholy, but an unsentimental and cold-eyed look at the way things are lost and recovered in the world.

DB: If you wrote the first story when you were eighteen, and you’re in your early thirties now, did you change as a writer in the course of composing the book?

KT: I think so. The vast majority of these stories were written recently, in the last five years or so. I did an MFA, for our sins, and I think that made me slightly more restrained as a writer. I have a better sense of tone and control. But I do feel that I’m still learning and growing.

DB: What’s the most recent story?

KT: The stories about Alexander the Great, under the title “The Mirrors of Iskandar.”

DB: I don’t have a large sample size, but to me, one of the differences between “Loss of Muzaffar” and the Alexander stories is that you got more sly. The Alexander stories are really funny.

KT: I’m glad to hear that, and I hope it’s true, but it’s also because the material from which I was drawing those stories — even though we think of it as stony-faced old history — is hilarious. There’s a lot of freedom and a lot of license in the way I reimagine them, but each one of them is based on something I actually read — an Oghuz Turkic version of an Alexander story, or an Armenian version or whatever. These old texts have more of a satirical, ludicrous, modern sensibility than we might imagine when thinking about panegyrics to ancient autocrats. So I think I was channeling that too, but yeah, I was bound to be more earnest and breathless as an eighteen-year-old than I am now.

DB: You’re not trying to kill us with poetry anymore.

KT: (Laughs.) But I am drawn to lyrical writing. If you put a gun to my head and said Faulkner or Hemingway, it would be Faulkner every day. I’ve been forced to think about this a bit, because I’ve been talking about my book in India, and I’ve often been asked, “What is the point of writing in the modern age?” And as a vehicle of delivering narrative, fiction is limited compared to so many other mediums, but one of the things that makes it unique is the possibility of experiencing good lyrical prose. I don’t want to kill you with poetry — I don’t think I could anyway — but I can’t imagine a time when I’d be a terribly austere writer.

DB: The times you came closest to killing me with poetry in a good way are your endings. I love the last sentence of the book: “Drunk under the aurora one night, the communications officer and the first mate go out onto the frozen deck and dance like lovers from another country.” I like how you make a leap. You’re not trying to wrap everything up. It feels a little counter-intuitive. Maybe you can talk to me about how you found a way to shut these stories down.

KT: I wrestle with endings. I’m sure everyone does. I think that sentence that you read was somewhere closer to the middle of the story in an earlier version. You asked about how I changed as a writer, and one of the ways I’ve changed is becoming slightly more, I don’t want to say evasive, but slightly better with my endings. A good ending isn’t necessarily a rounded completion. It’s something that brings you to a rest but opens a door.

“A good ending isn’t necessarily a rounded completion. It’s something that brings you to a rest but opens a door.”

DB: Let’s go back to “What’s the point of writing in these modern days?” Do you consider yourself a political writer?

KT: If I were in college I’d say, “All writing is political.” I guess I still kind of believe that. I’m an essayist, journalist, and occasional broadcaster in my other life where I am writing very overtly about political and cultural issues. These pieces of fiction may not be intervening in a contemporary policy debate, but I do think every piece in my collection is exploring what we could call a political issue, whether it’s notions of identity, notions of power relations, or ways of seeing in the world.

DB: “Portrait with Coal Fire” felt the closest to being reducible to a message. I was wondering when I read that, and when I read “A United Nations in Space,” if you started with a message or if you found a message later.

KT: I don’t know if there was a specific message for “A United Nations in Space.” I grew up in a United Nations family, so I enjoyed playing with that material. The story was sparked by the news a few years ago that the Libyan parliament was meeting on a Greek luxury car ferry off the coast of Libya in the Mediterranean. They were trying to administer the affairs of Libya on this slightly preposterous vessel full of Greek bow-tied waiters. I found that image at once comic and tragic, a Kapuściński-esque commentary on the political world. I took it to its logical extreme, and I imagined a similar United Nations General Assembly stuck in near-Earth orbit because it’s been chased from the planet. I don’t know if there’s a particular message I wanted to ram home there, I suppose the message is a little embedded in the conceit. I just wanted to make a world. With “Portrait with Coal Fire,” this is a bit literal, but I did see this photograph in a magazine, so it had a very clear source, and I suppose there is something more telegraphed about the main relationship I explore, between the photographer and his subject. But I think it’s still worth dramatizing. And the way I ended, I’m not necessarily trying to draw some triumphal anti-colonial line.

DB: You hit us with poetry again. “Phytoplankton, Nebula, Carbon, Tuna.” I love that ending. Speaking of poetry — your stories have amazing details, but they also have a poetic vagueness. In the title story, you withhold the name of the dying language and the characters. Tell me about your use of vagueness, and the decision to hold back proper nouns.

KT: I’m not the first writer to do that — lots of writers do — but I think my aversion to naming things came in part from a hope that if you were reading these stories in the English language, no matter where you were and how you were in the world, you’d be equally estranged and equally able to find something familiar. I didn’t want to privilege people in a particular place. That wasn’t necessarily a conscious decision; it just came out in the way I wrote these stories.

How to Have Fun Destroying Yourself: An Interview with Tony Tulathimutte, Author of Private Citizens

DB: What do you hope that you leave your reader with?

KT: First and foremost, I want people to experience a sense of wonder, but I don’t mean that in a starry-eyed way. A wonder that lifts off the page and is directed at the world in a meaningful way, because these stories may be whimsical sometimes, they may be, on occasion — though rarely, I feel — fantastical, but they’re about the world. There are of course political issues tucked into the book. There’s stuff about refugees, there’s stuff about displacement, there’s stuff about destruction and war. There’s stuff about climate change. I don’t necessarily hope that people will come away feeling motivated for action. But if people think about those real world themes in a more concerted or even slightly different way, that would be good too. And also, I just want people to enjoy the prose.

DB: Which story gave you the most trouble?

KT: I have to confess that I’m a fairly directed writer when it comes to short stories — the novel I’m working on is a different matter! When I struggle, I just go back to the top and try again or discard. I’m suspicious of the stories that I’m really having difficulty with. In my limited experience, the best writing is writing that I’m enjoying. I probably struggled with the oldest story, “The Loss of Muzaffar,” the story I wrote when I was eighteen. It now feels a bit remote to me. It was the first real aspirational short story that I’d ever written, and the experience of writing it at that young age was full of uncertainty and a kind of stress, which I don’t know if I have so much now. I’m not some kind of grizzled artisan yet; I’m not a blacksmith, so muscled and used to doing what he does in a routine way. But I think Salman Rushdie said that if carpenters aren’t allowed to have carpenter’s block, writers aren’t allowed to have writer’s block. Writing is always some form of struggle, but I don’t experience the process as struggle. I try to be industrious; I try to muscle through things.

“Writing is always some form of struggle, but I don’t experience the process as struggle. I try to be industrious; I try to muscle through things.”

DB: Do you know where you’re going before the end?

KT: Sometimes. I’m writing a novel now, so it’s a totally different question for that, but with stories, I do my best thinking as I write. Sometimes the purpose of writing a story is to figure out why I had an image or conceit in the first place. I find that as I’m writing a novel, I can’t afford to be so loose. There is much more premeditation, scaffolding, and so forth.

DB: My strategy with a novel is to outline it and then immediately throw out the entire outline when I start writing.

KT: That has happened to me over the last couple years in so many ways.

DB: It’s obsolete as soon as you type a word.

KT: You can say you’ve been working on a novel for a few years or whatever, but the truth is that what you were working on a couple years ago and what you’re working on now, in my experience, is so 180 degrees different that it’s not even worth calling it the same book.

DB: Totally. Going back to the genesis of the book — tell me the origin of “Elephant at Sea.”

KT: That’s based on a real story that was told to my brother and me by a family friend who worked in the Indian Foreign Service. A Moroccan princess actually asked an Indian ambassador for an elephant. He submitted the request, and predictably, the gears of Indian bureaucracy moved slowly, so only many years later is the elephant actually shipped off. It gets to Morocco at a time when the princess (A) has completely forgotten asking for it and (B) is not interested, and then it’s sent to Casablanca, and the Moroccans didn’t really have a means to transport it from Casablanca to Rabat, so it was walked along this partly coastal road. I loved the story as a kid, and then years later, in 2007, I went to Morocco and I remembered the story as I traveled around the country. But what was amazing was last year, at my book launch in Delhi, there was this lovely woman in the audience who revealed that she was the daughter of the Indian ambassador in Morocco at the time this all happened. She brought a picture of her sitting next to the Moroccan princess. She was incredibly moved by the story. She said that I described this world in a way that she understood, and that I described her father and his mannerisms in a way that was like her father, even though I had completely invented those details. I made it all up, and she was still very affected. There was also a man from the Cochin Port Trust who brought a photo that he says is in the museum of the Cochin Port Trust of that elephant being lifted into the boat to be sent to Morocco. I said in my story that it was taken from Cochin. I had not corroborated these details, I just imagined them. It was really remarkable to take something out of my imagination with some very meager basis in reality and put it out into the world, and then see it come back to me in real life.

DB: That’s amazing. You write from all of these lovely little anecdotes that I imagine you hoarding and mulling over. Are you afraid of spoiling them when you’re out with your friends? Are you like, I want to tell this entertaining story but I don’t want to ruin it?

KT: I don’t know about that, but I’m always a sponge for these kinds of anecdotes, both from the present and from the past. I am interested in unlikely connections. We have this idea that in our modernity, the world is becoming a tighter place and barriers are falling and we’re going to get to know each other. Obviously, in the Trump age, there’s a new wrinkle to that narrative. But I’ve always felt that we privilege our modern moment too much. A story like “Letters Home” explores the ways in which there have always been these astonishing links between disparate peoples and places, and these, dare I say, cosmopolitan ways of looking at the world, before we imagine that we were cosmopolitan. So I enjoyed writing about Sogdian traders in ancient China, or Polish soldiers fighting alongside Haitians in their revolution. Those are the kinds of stories that I often pick up and hoard.

Midweek Links from Around the Web (March 16th)

All the best literary links that are fit to, well, link

A new book looks at the intelligent alien creatures living in our seas:

Peter Godfrey-Smith’s brilliant book entirely overturns those preconceptions. Cephalopods — octopuses, squids and nautiluses — “are an island of mental complexity in the sea of invertebrate animals”, he writes, having developed on a different path from us, “an independent experiment in the evolution of large brains and complex behaviour”.

Kerry Washington is planning to adapt Brit Bennett’s novel The Mothers. (If you are an EL member, you can read an excerpt on Recommended Reading.)

Becky Chambers on writing science fiction across cultures.

Paul La Farge delves into the strange relationship between H.P. Lovecraft and Robert Barlow:

A week later, Lovecraft wrote back, as he nearly always did. It’s estimated that he wrote more than fifty thousand letters in his relatively short lifetime (he died at the age of forty-six). This particular letter was the beginning of a curious friendship, which changed the course of Barlow’s life, and Lovecraft’s, too — though almost no one who reads Lovecraft these days knows anything about it. Who keeps track of the lives of fans?

The (printed) book still lives! Young people prefer paper books.

A cool infographic on the authors who are most frequently adapted for film.

China is cracking down on foreign children’s books:

Don’t be fooled by their cuddly appearance and supposed adherence to Taoist principles — Winnie-the-Pooh and other residents of the Hundred Acre Wood are radical agitators dead set on poisoning the minds of children. Or at least that seems to be the new official position in the People’s Republic of China.

If you love books with birds in the title, well, here’s a list for you of books with birds in the title.

Looking for a quick but brilliant read? Check out these amazing novels under 200 pages.

Moscow Shutters Ukrainian Library, Escalating Culture War

Moscow Shutters Ukrainian Library, Escalating Culture War

Ukrainian Library remains open without books

The culture war betweeen Russia and the Ukraine continues to escalate, and once again literature finds itself in the crosshairs. According to a report from Reuters, Russian authorities have closed the Ukrainian Literature Library, a Moscow-based institution that has found itself at the center of the controversy. Until recently, the Library housed some 52,000 books and offered Ukrainian lessons. In 2015, local officials deemed a number of books in the Library’s collection to be anti-Russian propaganda. The former head of the Library, Natalya Sharina, was arrested in October 2015 and charged with distributing extremist literature and embezzlement. Last month, we wrote about Sharina’s trial and her appeal to the European Court of Human Rights. Amnesty International has labeled Sharina a “prisoner of conscience” and has condemned her prosecution and imprisonment.

According to Reuters, Moscow officials have not yet made a formal announcement regarding the Library’s closure, despite acknowledging that its works will now be housed in a new center of Slavonic culture. When the news outlet reached out to a Moscow city spokeswoman, they were told the decision “had no political element….on the contrary, by transferring the books…we are not only preserving the Ukrainian Literature’s books, but also believe it will facilitate the polularization (sic) of the Ukrainian literary legacy.” The new Slavonic cultural center is on record that it only has room for 12,000 additional books.

The Ukrainian Library — formed in 1918 — is no stranger to institutional pressure. It endured crackdowns on Ukrainian literature both during World War II and at the peak of the Stalinist era. Suppression measures have generally coincided with efforts to promote Russian cultural hegemony (the tact often includes the proclaimed supremacy of the Russian language). Ukrainian commentator Vitaly Portnikov expounded on this notion, writing for Radio Free Europe, “they want to prove that we are ‘one people,’ to do that, you need to destroy everything that constitutes the cultural uniqueness of the Ukrainian people.”

Lit As Last Bastion: Natalka Sniadanko On Suppression, Solidarity & Language In Ukraine

In a plot twist that seems ripped from the pages of Gogol or Kafka, the structure that once was the Ukrainian Literature Library remains open and staffed. However, inside there are no books or language lessons, just a staff monitoring empty shelves. “We’re keen to find out what kind of new life the library can have without any books,” employee Tayana Muntyan said to Reuters, “we come to work each day and don’t know what awaits us.

Proper Young Ladies: Writing My Mother’s Shakespeare Essay

“It’s true, you know.”

This is my mother.

“I could have been Barbara Walters. My grandmother wanted me to go to Radcliffe. But my father said I wasn’t allowed to go further than a one-hour plane ride or a 500-mile radius, so I had to go to Boulder.”

It’s almost 5 o’clock. She’s chopping parsley in a long black jersey skirt, men’s large purple t-shirt, Merrell clogs, and an apron. She’s chopping parsley to garnish her famous beef and barley soup. It’s famous because she makes it for anyone in the community who’s sick. It’s also famous because it’s delicious. (The trick is to caramelize the onions with a teaspoon of brown sugar before adding celery and aromatics). Our entire house periodically smells like this, like deep, gloriously stewed chuck. The earthy sweetness of meat-braised carrots. Plump pearls of barley drifting and softening in their descent.

This afternoon, Mom made a pot for Dave Schneider, an elderly widower who caught pneumonia and is staying around the corner at the Rose Blumkin Jewish Home. She’s already portioned it into six single-serving microwavable containers.

“It’s all Cousin Milton’s fault. Cousin Milton went to the University of Chicago, but then, like Grandpa says, he burrowed a tunnel through Ohio to the east coast and emerged somewhere in New Hampshire and no one’s seen him since. Grandpa said he couldn’t stand it if I left. Since there was no way he’d pay for Radcliffe, I went to Boulder, got a degree in Education, then came home. That’s what good girls did. If you weren’t engaged or already married by the end of college, you came home to live with your parents and teach. That’s why my college roommate and I made a deal our senior year: if neither of us got a diamond ring by graduation, we’d buy two guns and shoot each other.”

“I went to Boulder, got a degree in Education, then came home. That’s what good girls did.”

I am 17, sitting at the white Formica kitchen table opposite the counter peninsula. I’m supposed to be working on an A.P. English paper about symbolism in Macbeth, but we seem to be having a conversation, so I ask, “Why didn’t you go to Mizzou?”

We don’t have a lot of conversations though we are both chatty, even outspoken. I don’t know yet this is a cover — our barrage of words, witty retorts, clever, social scatting. I don’t know that I’ve learned to mimic her mannerisms, waving my hand around when I finish a sentence to immediately disregard it, or glancing at the ground when someone asks me what I think. In the early ’90s, most middle-class Midwesterners didn’t casually toss around phrases like “learned behavior.” No one would have known — even I didn’t know — that depression smoked from both our corners like dry ice, just offstage.

While we don’t have a lot of conversations, she does often engage in her continuing lecture series, Acceptable Behavior For Proper Young Ladies. Popular addresses include:

Proper Young Ladies do not stay out past midnight.

Proper Young Ladies wait their turn to speak.

Proper Young Ladies do not “hang out” in groups with non-Jewish boys.

I used to question her strictness. In our previous house, The House On 87th Street, in District 66, a lovely, WASP-y neighborhood across town, I used to talk back. When I did, one of two things happened. First, without missing a beat, she glared at me and warned, Proper Young Ladies do not question their parents. Second, if I whined, argued, or pressed an issue, or if I used a tone she didn’t like (I don’t like your tone, Young Lady), the events, on more than one occasion, unfolded as follows: she came toward me to slap or shove me, I bobbed or backed away, she became angry, I ducked out of the room, she chased me, even up the stairs, and, feeling sufficiently enraged by my insolence, slapped me across the mouth, forced me onto the closed toilet seat or edge of the bathtub, and shoved a brand new, family-sized, golden bar of Dial Soap in my mouth. She’d wipe the sweat off her brow with the corner of her apron, then say, in clipped, quick enunciation, Don’t you MOVE until I say so. She left. I stayed. I retracted my tongue from the bubbling triclocarban and lye as best I could. The corners of my mouth stretched and dried out. I counted the watermelon-red Kansas Peonies in our neighbor’s bushes to pass the time.

In the early ’90s, most middle-class Midwesterners didn’t casually toss around phrases like “learned behavior.”

This is to say, we don’t often talk about things teenage daughters want to know about their mothers.

Dissipation and Disenchantment: The Writing Life in Argentina in the 1990s

Most nights, I see her through the crack in Lauren’s door down the hall. She sits on her bed and rests her hand on Lauren’s stomach, or brushes her hair with her fingertips, while my sister whispers to her, and she whispers back. Even though I’ve got my driver’s license, and my girlfriends and I giggle about the logistics of a blow job, I sometimes still want my mom to tuck me in at night. Because I’m a teenager, and I ache. When I think she might be in a gentle mood, I call her to my door before she goes back downstairs. She enters, and it’s a quick touch on my hand and peck on my cheek. Goodnight, honey.

“No…wait. Stay…”

“I have to finish things in the kitchen.”

“Mom…”

She remains in the doorway. “Fine. What do you want to talk about? You have three minutes.”

“Never mind.”

So instead of writing, I ask about Mizzou. The University of Missouri in Columbia, or “Mizzou,” is the oldest journalism program in the country. It still has a great reputation. It has cachet. It’s only 320 miles from Omaha, an afternoon drive.

“I don’t know, I was young and dumb. Nice girls went to Boulder and became teachers.”

Gloria Steinem-reading, Lilith-fair following me presses the issue with compliments — the best way to earn a response. “But you were reading Moby Dick in eighth grade study hall. You were editor of the yearbook. You could speak French. You actually could have been Barbara Walters. Why not Mizzou?” I can’t understand why, for her first act of self-determination outside a domineering 1950s father, she would choose a nice college that pleased her parents instead of one that would help her do the exact thing she always wanted to do. Until I did the same thing.

I can’t understand why, for her first act of self-determination outside a domineering 1950s father, she would choose a nice college that pleased her parents instead of one that would help her do the exact thing she always wanted to do. Until I did the same thing.

“It was just different then.” Her chopping intensifies. “What do you want me to say? That my whole life could’ve been different? That I might not be making this same fakakteh soup for the ten-thousandth time if I’d gone to Mizzou and gotten a degree in Journalism? Who knows? All I know is I love your father, and this is our life. When is your paper due?”

Her argumentative moves are not sound, but they are swift, sharp, and exacting. She rinses the knife. The conversation is over.

“Friday,” I say. Mr. Daly assigns Friday deadlines. Until I started teaching, years later, I never even thought about his weekends, filled with A.P. English papers and stylebooks, grading schemas, assignment rubrics. I just thought it was nice he gave us the weekend to read instead of write. My syllabi follow his model today. “I have two more days to explain the significance of the drumbeat sound in the dialogue.”

“Drumbeat sound? Uh, hellooo. Why aren’t you writing about Lady Macbeth? Ambition, revenge, power!”

I prefer the poetry but don’t know how to say so without sounding weak. When Mr. Daly read the first scene out loud to us, emphasizing the couplets’ end-word rhymes, I heard a drumbeat, and the story began with sound: “When the hurlyburly’s done./When the battle’s lost and won.//That will be ere the set of sun.” Uhn. Uhn. Uhn. That incantatory hum, the tragedy it incites, the inevitability of every character’s arc built directly into the rhyme scheme — this enchanted me beyond its measure. I wasn’t sure how I’d write four pages on it, but I wanted to be the kind of student who could. To my tender reader’s heart, Shakespeare’s poetry magic overshadowed and overpowered any ambition another crazy literary character harbored.

To my tender reader’s heart, Shakespeare’s poetry magic overshadowed and overpowered any ambition another crazy literary character harbored.

I simply say, “I already have a page and a half.”

She stacks the Tupperware into a Hy-Vee paper bag and mutters, “And you call yourself a feminist.”

“What does that mean?”

“I missed the Women’s Movement by two years…”

“You didn’t miss the Women’s Movement.”

“And here you are, with all the resources and stories and information at your fingertips, and you don’t think Lady Macbeth is a juicy enough character to…”

“I didn’t say that.”

“A woman who was smarter than her husband. Who had more chutzpah than anyone else in the story. Who wanted power. Who was sneakier, and took risks, and was willing to do anything to change her lot in life. And her own ambition killed her! She ultimately couldn’t take it! Her repression drove her to murder and madness, and you don’t want to explore that?”

“Should I?”

“If you want to write an interesting paper!”

“I wanted to write about how the lines sound like the coming war. Like, that the war is written into the sound of the couplets.”

“BO-RING! I mean, write whatever you want. If you want to write about sophomoric tedium, gai gezunterhait! (go in good health!). If you want to write a great paper, you’ll write about Lady Macbeth. But do whatever you want. What do I know. I’m just the mother.”

Her repression drove her to murder and madness, and you don’t want to explore that?

She turns the faucet on full-blast. She clangs the soup pot into the sink and begins scrubbing. My father bursts in from the den, from the door to the garage. He has a heavy step and enters yelling.

“Sue! I don’t have time for this! I gotta be down on 84th before 6 o’clock…”

“You don’t “gotta” be anywhere. You can pick up the check tomorrow morning…”

“Would you stop? I want to pick up my check and deposit it before the end of the day.”

“What difference does it make if it’s deposited at 6 p.m. today or 9 a.m. tomorrow?”

“Would you just — ?”

The water is still running on high, overflowing the pot.

She hands him the Hy-Vee paper bag. “Hold it from the bottom. And tell Dave we hope he feels better.”

He walks back through the kitchen toward the door that leads to the garage. He does not acknowledge me. “I’ll tell him if I have time.”

“You’re dropping off the soup. How will you not have time? You’ll have time to tell an elderly man you hope he feels better.”

“Jesus Christ. Will you just let me go? I’m taking it, aren’t I?”

He slams the door. She returns to scrubbing. I listen to the mechanical sound of the garage door slowly rolling closed, each wooden panel lurching forward, then folding, riding the rails down to the ground. Now I am uncertain of my own ideas.

She dries the pot.Lady Macbeth was a bra-burning feminist before her time. This is good. Write this down. She has no children to speak of, expresses no desire to have a child, and longs for a more powerful position in society.”

“Mom. She wants to kill the King of Scotland.”

“So she’s got a dream! Good for her! Are you writing? I’m giving you great material.”

I turn to a fresh page. The paper crinkles in its binding. I press the ballpoint tip to the notebook to show her I’m ready. She continues.

“Lady Macbeth was a bra-burning feminist before her time…”

“I thought they didn’t actually burn their bras.”

“…but she is still an excellent wife. She is the Lady everyone expected her to become, hosting dinner parties in velvet robes, blah blah, AND she supports her husband’s aspirations and helps him achieve his dream, all the while sacrificing herself for the good of the mission.”

“Mr. Daly said painting her as a martyr is a trap.”

“Is Mr. Daly a woman or a wife?”

“No, but he did say there are parallels between her and the witches.”

“Until recently, when wasn’t a strong woman compared to a witch? I’m telling you, Lady Macbeth was misunderstood, she was before her time, and that’s what drove her mad. If she wore a bra, she would have burned it. Are you writing?”

I am.

“So, you don’t think it’s a good idea to write about the poetry?”

“I mean, I think it’s obvious this is a better paper.”

I transcribe the five-paragraph essay she’s dictating off the top of her head and worry. What does it say that I can’t see the better idea as easily as she does? Am I less intelligent than my mother was at my age? Am I the overly sensitive girl she accuses me of being, trying to stand up for an unimpressive interest in patterns and sounds? And wasn’t it inappropriate to allow my mom to dictate a paper to me? Anxiety, which I won’t recognize for years, blooms in me like the peonies, fully globed and layered, peeking out in a hundred little places in various shades of embarrassment.

What does it say that I can’t see the better idea as easily as she does? Am I less intelligent than my mother was at my age?

She dries the dishes. She turns 90 degrees to face me across the counter peninsula. She opens her arms wide, purple towel in her right hand, 10-inch chef’s knife in her left. She raises the knife into the air and wields it during moments of emphasis:

“Moreover! Lady Macbeth would scoff at feminist poster girls like Betty Friedan and Gloria Steinem. Lady Macbeth understood what they did not — the power of working behind the scenes. Of making it look like her husband was in charge, when in fact she was the…the chazakah! (internal strength!)…he needed to continue his mission. Without Lady Macbeth, there would have been no play. Period! She might have been devious, and she might have killed people, but she knew what was socially acceptable and did not deviate from it. Oh. Ok. Here it is: Her ultimate strength. Lay in her ability. To portray herself as a Proper Young Lady.”

Arms wide open, she tips her head back to look at the heavens through our drywall ceiling.

“My God, I am so good at this.” Then, to an invisible audience, with the knife raised for battle, “Someone bring me the King of Scotland! I have some interview questions for him!” She thrusts the knife up into the air, triumphant, then turns to the counter, lays the knife down, and puts the dishes away underneath.

“So, her deception is her greatest strength?” I ask, scribbling down the last of her monologue.

“Of course! You could even start your conclusion that way: Deception is very, very powerful. Lady Macbeth’s power lay in her unassuming, proper, social behavior. No one would have known she, you know, blah blah blah…you know how to finish it.”

To the best of my ability, I wrote my mother’s paper. It earned a B+.

Mr. Daly wrote, “Interesting character study, but where are you in this, besides here?” He drew an arrow up to the middle of the third paragraph where I’d commented on Lady Macbeth’s quote from Act I, scene 5.

She and Macbeth are at Inverness, and he announces Duncan is arriving to their castle that evening. She says, “…and you shall put/This night’s great business into my dispatch;/Which shall to all our days and nights to come/Give solely sovereign sway and masterdom.”

I wrote, “Uhm. Uhm. This sounds like hesitation, but it echoes the earlier drum beat sound. Sure, she’s ruthless, but maybe Lady Macbeth is letting on that she’s worried. In the first scene, the battle was way off in a forest, but now the sound of it is laced into her language. She can’t escape it. As long as she keeps saying what she does — which she has to, she’s just a character, she’s not really in charge — she can’t change course.”

“You could’ve gotten an A.”

This is my mother.

“See what happens when you don’t listen to me?”

China Gives Winnie-the-Pooh the Boot

A new Party edict targets foreign picture books

Don’t be fooled by their cuddly appearance and supposed adherence to Taoist principles — Winnie-the-Pooh and other residents of the Hundred Acre Wood are radical agitators dead set on poisoning the minds of children. Or at least that seems to be the new official position in the People’s Republic of China. According to reports from the Hong Kong-based South China Morning Press, Communist Party heads have instructed publishers to drastically limit the number of foreign picture books printed in country. In some cases, the edict is being interpreted as an outright ban. Late last week, the e-commerce behemoth Alibaba announced that its online shopping site, Taobao, would cease the sale of foreign books in order to “create a safe and secure online shopping environment to enhance consumer confidence and satisfaction.”

The new policy means that beloved children’s books like Roald Dahl’s James and the Giant Peach and A.A. Milne’s Winnie-the-Pooh series will soon be all but unavailable to the world’s largest population and its hundreds of millions of children. The limitations promise to dramatically shift the children’s publishing industry in China. According to the SCMP’s report, the PRC’s three bestselling picture books are all from foreign sources: Les P’Tites Poules series; (France), the Barefoot Books World Atlas (Britain); and Peppa Pig (Britain).

The justification behind the ban, in the words of an editor at a state-owned publisher in the PRC, is to reduce the “inflow of ideology” from western sources. The crackdown is part of a larger Party effort to halt dissemination and popularity of western ideas in the education sector.

Another editor told The Financial Times: “I can’t imagine this restriction to be possible, because its implementation is so difficult, and it also has no benefit whatsoever for the people or the country.”

Could that mean there will soon be an underground trade in Goodnight, Moon and The Little Prince? For the children’s publishing world in China, it’s a brave new world.

“Nadia and Saeed” by Mohsin Hamid

“Nadia and Saeed”

by Mohsin Hamid

In a city swollen by refugees but still mostly at peace, or at least not yet openly at war, a young man met a young woman in a classroom and did not speak to her. For many days. His name was Saeed and her name was Nadia and he had a beard, not a full beard, more a studiously maintained stubble, and she was always clad from the tips of her toes to the bottom of her jugular notch in a flowing black robe. Back then people continued to enjoy the luxury of wearing more or less what they wanted to wear, clothing and hair wise, within certain bounds of course, and so these choices meant something.

It might seem odd that in cities teetering at the edge of the abyss young people still go to class — in this case an evening class on corporate identity and product branding — but that is the way of things, with cities as with life, for one moment we are pottering about our errands as usual and the next we are dying, and our eternally impending ending does not put a stop to our transient beginnings and middles until the instant when it does.

Saeed noticed that Nadia had a beauty mark on her neck, a tawny oval that sometimes, rarely but not never, moved with her pulse.

Not long after noticing this, Saeed spoke to Nadia for the first time. Their city had yet to experience any major fighting, just some shootings and the odd car bombing, felt in one’s chest cavity as a subsonic vibration like those emitted by large loudspeakers at music concerts, and Saeed and Nadia had packed up their books and were leaving class.

In the stairwell he turned to her and said, “Listen, would you like to have a coffee,” and after a brief pause added, to make it seem less forward, given her conservative attire, “in the cafeteria?”

Nadia looked him in the eye. “You don’t say your evening prayers?” she asked.

Saeed conjured up his most endearing grin. “Not always. Sadly.”

Her expression did not change.

So he persevered, clinging to his grin with the mounting desperation of a doomed rock climber: “I think it’s personal. Each of us has his own way. Or . . . her own way. Nobody’s perfect. And, in any case — ”

She interrupted him. “I don’t pray,” she said.

She continued to gaze at him steadily.

Then she said, “Maybe another time.”

He watched as she walked out to the student parking area and there, instead of covering her head with a black cloth, as he expected, she donned a black motorcycle helmet that had been locked to a scuffed-up hundred-ish cc trail bike, snapped down her visor, straddled her ride, and rode off, disappearing with a controlled rumble into the gathering dusk.

The next day, at work, Saeed found himself unable to stop thinking of Nadia. Saeed’s employer was an agency that specialized in the placement of outdoor advertising. They owned billboards all around the city, rented others, and struck deals for further space with the likes of bus lines, sports stadiums, and proprietors of tall buildings.

The agency occupied both floors of a converted townhouse and had over a dozen employees. Saeed was among the most junior, but his boss liked him and had tasked him with turning around a pitch to a local soap company that had to go out by email before five. Normally Saeed tried to do copious amounts of online research and customize his presentations as much as possible. “It’s not a story if it doesn’t have an audience,” his boss was fond of saying, and for Saeed this meant trying to show a client that his firm truly understood their business, could really get under their skin and see things from their point of view.

But today, even though the pitch was important — every pitch was important: the economy was sluggish from mounting unrest and one of the first costs clients seemed to want to cut was outdoor advertising — Saeed couldn’t focus. A large tree, overgrown and untrimmed, reared up from the tiny back lawn of his firm’s townhouse, blocking out the sunlight in such a manner that the back lawn had been reduced mostly to dirt and a few wisps of grass, interspersed with a morning’s worth of cigarette butts, for his boss had banned people from smoking indoors, and atop this tree Saeed had spotted a hawk constructing its nest. It worked tirelessly. Sometimes it floated at eye level, almost stationary in the wind, and then, with the tiniest movement of a wing, or even of the upturned feathers at one wingtip, it veered.

Saeed thought of Nadia and watched the hawk.

When he was at last running out of time he scrambled to prepare the pitch, copying and pasting from others he had done before. Only a smattering of the images he selected had anything particularly to do with soap. He took a draft to his boss and suppressed a wince while sliding it over.

But his boss seemed preoccupied and didn’t notice. He just jotted some minor edits on the printout, handed it back to Saeed with a wistful smile, and said, “Send it out.”

Something about his expression made Saeed feel sorry for him. He wished he had done a better job.

As Saeed’s email was being downloaded from a server and read by his client, far away in Australia a pale-skinned woman was sleeping alone in the Sydney neighborhood of Surry Hills. Her husband was in Perth on business. The woman wore only a long T-shirt, one of his, and a wedding ring. Her torso and left leg were covered by a sheet even paler than she was; her right leg and right hip were bare. On her right ankle, perched in the dip of her Achilles tendon, was the blue tattoo of a small mythological bird.

Her home was alarmed, but the alarm was not active. It had been installed by previous occupants, by others who had once called this place home, before the phenomenon referred to as the gentrification of this neighborhood had run as far as it had now run. The sleeping woman used the alarm only sporadically, mostly when her husband was absent, but on this night she had forgotten. Her bedroom window, four meters above the ground, was open, just a slit.

In the drawer of her bedside table were a half-full packet of birth control pills, last consumed three months ago, when she and her husband were still trying not to conceive, passports, checkbooks, receipts, coins, keys, a pair of handcuffs, and a few paper-wrapped sticks of unchewed chewing gum.

The door to her closet was open. Her room was bathed in the glow of her computer charger and wireless router, but the closet doorway was dark, darker than night, a rectangle of complete darkness — the heart of darkness. And out of this darkness, a man was emerging.

He too was dark, with dark skin and dark, woolly hair. He wriggled with great effort, his hands gripping either side of the doorway as though pulling himself up against gravity, or against the rush of a monstrous tide. His neck followed his head, tendons straining, and then his chest, his half-unbuttoned, sweaty, gray-and-brown shirt. Suddenly he paused in his exertions. He looked around the room. He looked at the sleeping woman, the shut bedroom door, the open window. He rallied himself again, fighting mightily to come in, but in desperate silence, the silence of a man struggling in an alley, on the ground, late at night, to free himself of hands clenched around his throat. But there were no hands around this man’s throat. He wished only not to be heard.

With a final push he was through, trembling and sliding to the floor like a newborn foal. He lay still, spent. Tried not to pant. He rose.

His eyes rolled terribly. Yes: terribly. Or perhaps not so terribly. Perhaps they merely glanced about him, at the woman, at the bed, at the room. Growing up in the not infrequently perilous circumstances in which he had grown up, he was aware of the fragility of his body. He knew how little it took to make a man into meat: the wrong blow, the wrong gunshot, the wrong flick of a blade, turn of a car, presence of a microorganism in a handshake, a cough. He was aware that alone a person is almost nothing.

The woman who slept, slept alone. He who stood above her, stood alone. The bedroom door was shut. The window was open. He chose the window. He was through it in an instant, dropping silkily to the street below.

While this incident was occurring in Australia, Saeed was picking up fresh bread for dinner and heading home. He was an independent-minded, grown man, unmarried, with a decent post and a good education, and as was the case in those days in his city with most independent-minded, grown men, unmarried, with decent posts and good educations, he lived with his parents.

Saeed’s mother had the commanding air of a schoolteacher, which she formerly was, and his father the slightly lost bearing of a university professor, which he continued to be — though on reduced wages, for he was past the official retirement age and had been forced to seek out visiting faculty work. Both of Saeed’s parents, the better part of a lifetime ago, had chosen respectable professions in a country that would wind up doing rather badly by its respectable professionals. Security and status were to be found only in other, quite different pursuits. Saeed had been born to them late, so late that his mother had believed her doctor was being cheeky when he asked if she thought she was pregnant.

Their small flat was in a once handsome building, with an ornate though now crumbling facade that dated back to the colonial era, in a once upscale, presently crowded and commercial, part of town. It had been partitioned from a much larger flat and comprised three rooms: two modest bedrooms and a third chamber they used for sitting, dining, entertaining, and watching television. This third chamber was also modest in size but had tall windows and a usable, if narrow, balcony, with a view down an alley and straight up a boulevard to a dry fountain that once gushed and sparkled in the sunlight. It was the sort of view that might command a slight premium during gentler, more prosperous times, but would be most undesirable in times of conflict, when it would be squarely in the path of heavy machine-gun and rocket fire as fighters advanced into this part of town: a view like staring down the barrel of a rifle. Location, location, location, the realtors say. Geography is destiny, respond the historians.

War would soon erode the facade of their building as though it had accelerated time itself, a day’s toll outpacing that of a decade.

When Saeed’s parents first met they were the same age as were Saeed and Nadia when they first did. The elder pair’s was a love marriage, a marriage between strangers not arranged by their families, which, in their circles, while not unprecedented, was still less than common.

They met at the cinema, during the intermission of a film about a resourceful princess. Saeed’s mother spied his father having a cigarette and was struck by his similarity to the male lead in the movie. This similarity was not entirely accidental: though a little shy and very bookish, Saeed’s father styled himself after the popular film stars and musicians of his day, as did most of his friends. But Saeed’s father’s myopia combined with his personality to give him an expression that was genuinely dreamy, and this, understandably, resulted in Saeed’s mother thinking he not merely looked the part, but embodied it. She decided to make her approach.

Standing in front of Saeed’s father she proceeded to talk animatedly with a friend while ignoring the object of her desire. He noticed her. He listened to her. He summoned the nerve to speak to her. And that, as they were both fond of saying when recounting the story of their meeting in subsequent years, was that.

Saeed’s mother and father were both readers, and, in different ways, debaters, and they were frequently to be seen in the early days of their romance meeting surreptitiously in bookshops. Later, after their marriage, they would while away afternoons reading together in cafés and restaurants, or, when the weather was suitable, on their balcony. He smoked and she said she didn’t, but often, when the ash of his seemingly forgotten cigarette grew impossibly extended, she took it from his fingers, trimmed it softly against an ashtray, and pulled a long and rather rakish drag before returning it, daintily.

The cinema where Saeed’s parents met was long gone by the time their son met Nadia, as were the bookshops they favored and most of their beloved restaurants and cafés. It was not that cinemas and bookshops, restaurants and cafés had vanished from the city, just that many of those that had been there before were there no longer. The cinema they remembered so fondly had been replaced by a shopping arcade for computers and electronic peripherals. This building had taken the same name as the cinema that preceded it: both once had the same owner, and the cinema had been so famous as to have become a byword for that locality. When walking by the arcade, and seeing that old name on its new neon sign, sometimes Saeed’s father, sometimes Saeed’s mother, would remember, and smile. Or remember, and pause.

Saeed’s parents did not have sex until their wedding night. Of the two, Saeed’s mother found it more uncomfortable, but she was also the more keen, and so she insisted on repeating the act twice more before dawn. For many years, their balance remained thus. Generally speaking, she was voracious in bed. Generally speaking, he was obliging. Perhaps because she did not, until Saeed’s conception two decades later, get pregnant, and assumed therefore she could not, she was able to have sex with abandon, without, that is, thought of consequences or the distractions of child-rearing. Meanwhile his typical manner, throughout the first half of their marriage, at her strenuous advances, was that of a man pleasantly surprised. She found mustaches and being taken from behind erotic. He found her carnal and motivating.

After Saeed was born, the frequency with which his parents had sex dipped notably, and it continued to decline going forward. A uterus began to prolapse, an erection became harder to maintain. During this phase, Saeed’s father started to be cast, or to cast himself, more and more often, as the one who tried to initiate sex. Saeed’s mother would sometimes wonder whether he did this out of genuine desire or habit or simply for closeness. She tried her best to respond. He would eventually come to be rebuffed by his own body at least as much as by hers.

In the last year of the life they shared together, the year that was already well under way when Saeed met Nadia, they had sex only thrice. As many times in a year as on their wedding night. But his father always kept a mustache, at his mother’s insistence. And they never once changed their bed: its headboard like the posts of a banister, almost demanding to be gripped.

In what Saeed’s family called their living room there was a telescope, black and sleek. It had been given to Saeed’s father by his father, and Saeed’s father had given it in turn to Saeed, but since Saeed still lived at home, this meant the telescope continued to sit where it always sat, on its tripod in a corner, underneath an intricate clipper ship that sailed inside a glass bottle on the sea of a triangular shelf.

The sky above their city had become too polluted for much in the way of stargazing. But on cloudless nights after a daytime rain, Saeed’s father would sometimes bring out the telescope, and the family would sip green tea on their balcony, enjoying a breeze, and take turns to look up at objects whose light, often, had been emitted before any of these three viewers had been born — light from other centuries, only now reaching Earth. Saeed’s father called this time-travel.

On one particular night, though, in fact the night after he had struggled to prepare his firm’s pitch to the soap company, Saeed was absentmindedly scanning along a trajectory that ran below the horizon. In his eyepiece were windows and walls and rooftops, sometimes stationary, sometimes whizzing by at incredible speed.

“I think he’s looking at young ladies,” Saeed’s father said to his mother.

“Behave yourself, Saeed,” said his mother.

“Well, he is your son.”

“I never needed a telescope.”

“Yes, you preferred to operate short-range.”

Saeed shook his head and tacked upward.

“I see Mars,” he said. And indeed he did. The second-nearest planet, its features indistinct, the color of a sunset after a dust storm.

Saeed straightened and held up his phone, directing its camera at the heavens, consulting an application that indicated the names of celestial bodies he did not know. The Mars it showed was more detailed as well, though it was of course a Mars from another moment, a bygone Mars, fixed in memory by the application’s creator.

In the distance Saeed’s family heard the sound of automatic gunfire, flat cracks that were not loud and yet carried to them cleanly. They sat a little longer. Then Saeed’s mother suggested they return inside.

When Saeed and Nadia finally had coffee together in the cafeteria, which happened the following week, after the very next session of their class, Saeed asked her about her conservative and virtually all-concealing black robe.

“If you don’t pray,” he said, lowering his voice, “why do you wear it?”

They were sitting at a table for two by a window, overlooking snarled traffic on the street below. Their phones rested screens-down between them, like the weapons of desperadoes at a parley.

She smiled. Took a sip. And spoke, the lower half of her face obscured by her cup.

“So men don’t fuck with me,” she said.