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.

Speed and Crisis, with Daniel Magariel

In his debut novel One of the Boys, Daniel Magariel uses his personal history to write from the perspective of a young boy who starts a new life with his brother and father. Everything is perfect in the eyes of the preteen, but events slowly turn heartbreaking when the father’s addictions and violence begin to rise to the surface. The novel carries a lot of emotional weight in a brief space — less than 200 deeply-affecting pages.

Magariel honed his craft throughout the years in places ranging from cafes in northern Manhattan to the foothills of the Rockies, before he ended up at Syracuse’s MFA program studying under George Saunders. Raised in Kansas City, the now-Brooklynite called to talk about how his childhood influenced One of the Boys, crafting the voice of a preteen, his obsessive editing habits, and more.

Adam Vitcavage: Since you’re a debut author, I feel like we should start with some background so readers get to know you. How and why did you become a writer?

Daniel Magariel: Like most writer’s, it was almost a compulsion. At some point, I started to take myself seriously. I was a senior at Columbia and I was graduating soon — this happened when I was in my final year at Syracuse as well — and there was this “oh shit, I’m about to leave college unemployed” moment. I seem to do my best writing under circumstances like that.

I had just made the leap into writing fiction [during my senior year of undergrad]. I had been messing with non-fiction. I thought about doing long form journalism, but during that final year at Columbia, I realized I had been really holding back on what I truly wanted to work on: a novel.

I used to frequent this little cafe on 111th and Amsterdam called The Hungarian Pastry Shop. While there, attempting to put down the first few words of fiction I’d written since a story about dragons in the first grade, I came to learn that this cafe was a workplace for the likes of Nathan Englander, Rivka Galchen, and Julie Otsuka. To be honest, I knew very little about contemporary fiction at that time, and I had no idea who they were until I googled them, but once I had, I started looking for them daily, studying their routines, watching them just sit and work. Beyond my amazement at how long they could hold it in — their pee, I mean — I was enthralled by how they showed up and stayed at it, for several hours nearly every day. There was nothing glamorous about this place — no outlets, dim light, burned coffee, tiny tables — and yet I learned something so critical by watching brilliant writers do the modest work of sitting and working. That place was my moveable feast for the several years between undergraduate and graduate.

At 23-years-old, I moved to Colorado and got a job working the night shift at a treatment center for at-risk youth. It was a lockdown facility in the foothills of the Rockies with coyotes howling at night while these kids slept. I would try to stay up and write. A lot of what I wrote was just a bad, horrible version of what I have now.

Vitcavage: From there you started to apply to MFA programs?

Magariel: From there I started to apply to MFA programs. I actually moved back to New York for a year after living in Colorado for a year. I became a caterer and worked on MFA application essays. I got into Syracuse and moved to upstate New York.

Vitcavage: Syracuse is producing a lot of great fiction lately. Was your novel a product of that program?

Magariel: I walked in with two chapters of this book. They were my application pages: chapters five and six. I wrote them as short stories. I set it aside for two years and worked on other stuff, including a lot of short stories and another novel that I still won’t look at.

In the third year at Syracuse, the six fiction writers get to work with George Saunders a lot more and I decided to jump back into this novel. He wasn’t in love with what I was working on so he brought up how my application stories had energy. I wrote another story and started working on them sequentially.

He eventually became my thesis advisor and was very supportive of the energy of the project. The novel looks much different now than it did back then. Three years later I had a completed book. A very short book.

Vitcavage: I did want to talk about the length, but first I want to make sure I know about the genesis of the book. It’s very emotional and seems very personal. It started as short stories, but were they ever meant to be linked?

Magariel: Yeah, they were meant to be linked. As for the genesis…I don’t think I’m fooling anybody. It’s clear that to write a book that so intimately portrays so few characters in a very private environment such as addiction with parents the writer needs to connect with it. My father was an addict. My sister, my brother, and I watched — you know, I don’t even remember when we realized that he was using drugs. It was just sort of a part of our lives until it was, “Oh shit, that’s why he acts the way he does and is weird sometimes.”

That awakening to the weird things happening behind the closed door and all the strange signs was the genesis of the book. Then my job as a fiction writer is curating, organizing, cutting, exaggerating, and escalating fact.

Vitcavage: Why keep the boys nameless?

Magariel: It’s funny. There are these happy accidents that people have while working with material for so long. Your instinct to do something is different than the meaning it garners by the end. I heard people say there is this anonymity with the namelessness and it sort of makes it universal. The reality is that I feel awkward in fiction when I name people. Once I name people, it doesn’t feel real. The first few stories, I didn’t want to name them. It worked, so I kept doing it.

Vitcavage: It’s funny, I noted while reading it: “No character names — universal?” and it seems like everybody just wants to attribute that to your book.

Magariel: Yeah, and I think it does. It works. I didn’t realize until I wrote a few chapters.

Vitcavage: You mentioned length earlier. It’s been a trend for these emotionally draining, heavy stories that are 700 pages. A recent favorite of mine was Hanya Yanagihara’ A Little Life, which is a doorstopper and your book can literally slide under the crack of my door. What was it about keeping this story short?

Magariel: It was voice. I started writing these chapters and velocity was the most compelling and stylistic choice. I heard, and I don’t necessarily believe this, but there are these doorstoppers and readers are losing their attention spans. Even though I don’t believe that, I thought, what if it was true, what if I wrote a book that was so fast that readers actually wanted to slow down.

The length was a product of the style. I wanted it to be longer, but it wouldn’t get any longer. I also realized what better way would there be to describe what it’s like for a twelve year-old to be under the spell of a father who keeps setting fires everywhere. There is no time for reflection. No time to stop and take in what’s going on. You’re constantly forced into a crisis.

I needed to find a way to do that and my solution was speed. Maybe I was able to get the reader to understand how frantic the life of the narrator is.

Vitcavage: How did you tap into a preteen boy’s perspective so that his voice fit the literary style?

Magariel: I upped his language abilities and his ability to reflect at times. I also made the language so clipped and even at times repetitive. My German translator said this was a deceptively easy book to translate, but it’s a difficult style to emulate. Readability doesn’t always mean a lack of style or a lack of intent in the language.

I needed to figure out the twelve year-old narrator. You try to imagine what life was like at twelve. What it would be like to experience these things. You put him in a room and you have these dynamics. There’s an older brother, so of course a boy that age would want to be pals with his older brother. Of course he’ll want to worship his father. These things are obvious.

Then there was the speed. The sentences become even shorter and condensed. They had to become more packed with what was essential for that moment in time. I do think the boy’s language and diction is upped.

Vitcavage: Going back to Syracuse, when you were working with George Saunders, what was that process like? I think a lot of people who read this kind of interview were like you: younger writers who want to take this seriously. Can you sort of walk me through what your MFA experience was like?

Magariel: I had an insane routine. I’d wake up at 6am and go to the library. I’d write for an hour. An hour doesn’t sound like a lot, but that’s my rule. When I sit down I don’t want four hours or six hours. After that hour I go to the gym immediately after. I’d swim laps for an hour and then go back to the library for an hour.

Vitcavage: Was the gym a place to reflect on what you wrote or just clear your head?

Magariel: I’m reflecting the whole time. I’m in a no-mind mode where I can do repetitive activities. Like walking two miles anywhere. As long as my mind automatically wanders to the work. The downtime is an essential part of my writing. The more I can build it into my schedule and routine, the better the work. I discovered this a lot that year. I was looking for these intense bursts where I’d get maybe 50 words, but they were 50 solid words. I could walk away from them and think about what the next 50 words would be.

One of the best parts of that process was that I would work my way slowly and methodically through a chapter and by the time I was done with the draft it was pretty solid.

Then to get the writer’s saint of the 21st century — i.e. George Saunders — to look over a draft was amazing. There was something about writing those four first chapters for him that helped. He was my audience, there was no one else. So knowing that, I obviously I wanted to impress him, I wanted to give him my absolute best work so he could give me the best feedback possible.

There was also that urgency, like in my undergrad — after my MFA was over, I wouldn’t have a job, which meant I wouldn’t have the time to write.

Vitcavage: After writing and clearing your head, what is your editing or reflection process like?

Magariel: At night, I like to have a stiff drink and read over everything I wrote and line edit. I edit obsessively. I write for an hour burst here and there, then at night I take a pen and just mark it up. I continue to mark up those pages until there are no pen marks. It’s likely to take six months of going back to the old stuff. Once there are no marks, I say okay and move on.

Vitcavage: What are you editing on those nights? For voice, for grammar, for anything in between?

Magariel: There are different stages. Grammar is one of those things writers overlook. I mean, in an MFA no one is teaching classes about grammar. When you get close to publication you realize you have to have a grammar style, too, and it has to be consistent. It’s like: obviously. Then you question yourself. Do I always need a comma after an adverbial clause that introduces a sentence? Do I need a comma after a terminal too or either? Do I need a comma following a main clause when I have a subordinate clause at the end of the sentence? Should I use italics instead of quotations when referring to something someone says?

It all seems intuitive and obvious, but when you’re going through the work you realize there are some inconsistencies with grammar. That was my favorite part about publishing this book. I did a full grammar reboot when the copy edits came back.

But when I’m editing, I’m also looking for anything I can cut. The best feeling in the world is when I write a beautiful paragraph and I get to cut it because the page or the scene or the chapter functions at a higher level without it. Even if it functions at the same level, I cut it. I just look for whatever in the completed work is absolutely essential. If there is any doubt, it’s not staying.

I print out my pages every night and take a pen to it. Whatever edits I made is how I start the next day.

Vitcavage: So, you graduate then you make all of the edits, and sell the book. It obviously happens overnight.

Magariel: Yeah, it happens overnight. [laughs] I spent two years working before I sold the book. I mean, let’s see: the book was not sold this time last year. [Literary agent] Bill Clegg had signed me around February 18 of last year. It all happened really quickly. I wanted to turn the book in as complete as possible. I brought it to a place where I didn’t think I could take it any further. Bill saw it and gave me some notes. Then Nan Graham and Daniel Loedel brought it at Scribner and they gave me notes. Yeah, the book sold in April of last year.

Vitcavage: Then this basically did happen overnight, which is never the case.

Magariel: Seriously. The book will be out less than a year after it was sold.

Vitcavage: What are you working on next?

Magariel: A novel. A longer one this time. My wife grew up in a commercial fishing town and I’ve gotten to know a lot of the fisherman. I’ve spent a lot of time down there with them and have plans to spend more time. I’m trying to push myself to a place where I’m totally uncomfortable. The first chapter starts off with a woman reflecting on the death of her child. I’m not that.

Prize for Innovative Small Press Publishing Goes to Fitzcarraldo

Republic of Consciousness prize won by John Keene’s Counternarratives

The inaugural Republic of Consciousness prize — set up to reward innovative independent publishers — has been awarded to British press Fitzcarraldo for their publication of American author John Keene’s collection Counternarratives. Citing the work’s formal inventiveness, the six judge panel unanimously awarded Keene and Firzcarraldo the £3,000 prize. The £1,000 runner-up prizes went to Tramp Press for Mike McCormack’s Solar Bones, And Other Stories for Anakana Schofield’s Martin John, and Galley Beggar for Paul Stanbridge’s Forbidden Line. All winners have been encouraged to give a third of the proceeds to the winning authors.

Unlike many larger awards, the Republic of Consciousness does not require publishers to pay an entry fee. The prize says their criteria is “perfectly expressed on the Galley Beggar website as ‘hardcore literary fiction and gorgeous prose’.” British novelist Neil Griffiths began establishing the prize last year, donating £3,000 of his own money and fundraising the remaining £4,000. Speaking with The Guardian, Griffiths commented “the small presses are still struggling for that shop window…publishing requires high-end commercial novels and niche novels, even if they don’t sell millions.”

Looking hopefully to the future of Republic of Consciousness, Griffith’s expects corporate sponsorship to “double, if not triple, the prize fund.”

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

Who loves short books? Just about everybody, as we can tell. Over the past couple years, one of our most frequently read posts is our list of 17 Brilliant Books You Can Read in a Sitting.

If you’ve read your way through those, here’s a new list of some of brilliant short novels. I went with 18 this time because, well, it’s one more. As with the last list, I’m avoiding the most famous short novels that everyone is familiar with. You don’t need me to tell you about Jesus’ Son or Ms Dalloway. “Short” here is defined as under 200 pages. Just long enough to read on a short flight or a long ride.

The Nonexistent Knight by Italo Calvino

Calvino’s most celebrated books are probably Invisible Cities and Cosmicomics. Both are brilliant, but for my taste the best work Calvino did was his “heraldic trilogy” of fabulist historical novels: The Baron in the Trees, The Cloven Viscount, and The Nonexistent Knight . My favorite is The Baron in the Trees, about a, well, young baron who runs up and lives his life in the trees. But it is slightly over 200 pages. So I’ll list The Nonexistent Knight, a novel about, well, a knight who doesn’t really exist yet who is summoned out of “goodwill and faith in the holy cause” of Charlemagne. As a bonus, most editions include the equally brilliant short novel The Cloven Viscount about a, well, 17th century viscount who gets cloven into his good and evil halves by a cannonball.

The Vegetarian by Han Kang

My favorite book of 2016, Han Kang’s The Vegetarian is a dark and haunting novel about a woman who suffers horrible abuse from her family after she decides to stop eating meat. The book is told in a three part structure, each part from the point of view of different character — but never the woman herself.

(You can read Electric Lit’s review of the novel here.)

Multiple Choice by Alejandro Zambra

Multiple Choice is a book that really shouldn’t work. The novel is composed of short prose pieces in the style of a multiple choice test. But instead of being gimmicky, the book is a simultaneously moving and humorous meditation on language, family, and history.

(Read Electric Lit’s interview with Zambra here.)

The Ballad of Black Tom by Victor LaValle

We interviewed LaValle about the book here, and you can read our review here.

McGlue by Ottessa Moshfegh

Moshfegh has gotten a lot of accolades for her recent novel Eileen and collection Homesick for Another World. Those books deserve the attention, but so does her overlooked debut — a drunken nautical novella called McGlue. We have an excerpt of the book in our Recommended Reading archives.

Train Dreams by Denis Johnson

Johnson’s short quasi-novel Jesus’ Son is his best work, and his long novel Tree of Smoke won the National Book Award, but don’t overlook Train Dreams. This historical novella about the early 20th century American West is proof that a novel doesn’t have to be long to be epic.

Dept. of Speculation by Jenny Offill

Offill’s 2014 book is one of those impossible to define yet impossible to forget novels. Seeming to mix memoir and non-fiction with fiction, aphorism, and fragments, Dept. of Speculation is lyrical and philosophical book about marriage, motherhood, art, and life.

Autobiography of Red by Anne Carson

Like the previous entry, this novel is a thrilling mix of different forms: poetry, scholarship, mythology, and fiction. The core of the book is a modern retelling of Geryon, a monster from Greek mythology who interacts with Hercules. If you love poetry, mythology, and fiction, you simply have to read this.

The Mezzanine by Nicholson Baker

Baker’s 1986 novel The Mezzanine is a sort of literary answer to the Seinfeld question: can you write a novel about nothing? While the novel basically just follows an office worker walking on a mezzanine one day, Baker’s lengthy digressions turn a boring stroll into a poignant and often hilarious read.

The Story of My Teeth by Valeria Luiselli

Like several books on this list, The Story of My Teeth is a surprising combination of forms. The book is written in several different parts, and includes a meta-non-fictional note on the writing process, which involved a interstate collaboration between Luiselli and workers in a juice factory in Mexico. The story itself is about a man named Gustavo “Highway” Sánchez Sánchez who auctions off the teeth of celebrities and dead writers. (You can read Electric Lit’s review here.)

Sula by Toni Morrison

Toni Morrison is one of the living geniuses of American letters, and one capable of putting all of life into a novel — even a slim one. Sula is only 190 pages, but it has everything from comedy and tragedy to love and hate and beyond.

Heart of a Dog by Mikhail Bulgakov

What would happen if scientists implanted human organs in a dog? Why, he’d become a slovenly bureaucrat of course. Bulgakov’s SF satire of the “New Soviet man” and attempts to change human nature is still relevant and hilarious today.

The Literary Conference by César Aira

Argentina’s Aira is the master of short, weird books, so many of them could fit on this list. And in truth, The Literary Conference is so short that it is more like a long short story than a novel. But I love it, and it’s published individually by New Directions so it goes on this list. Despite the banal title, this insane tale features everything from buried treasure and mad scientist to gigantic worm monsters.

The Box Man by Kobo Abe

Kobo Abe is one of my favorite authors, a master of blending different genres into his surreal Kafkaesque view of the world. The Box Man is a kind of postmodern thriller about a man who rejects modern life to go live inside of a box. He writes his story on the inside of said cardboard box as a mad doctor hunts him trying to take the box for himself.

The Lake by Banana Yoshimoto

On the other end of the spectrum from the surreal fantasy of Kobo Abe, Yoshimoto’s The Lake is an introspective and moving novel about an artist who falls in love with a former cult member. (The cult is inspired by the real life group who poisoned the Tokyo subway in 1995.)

Winter’s Bone by Daniel Woodrell

You may have seen the movie, but definitely don’t miss out on the book. A stunning work of country noir, Winter’s Bone mixes a Southern Gothic lyricism with a mystery set in the contemporary meth-infested Ozarks.

The Invention of Morel by Adolfo Bioy Casares

No less than Jorge Luis Borges said that this was a “perfect” novel. Of course, he and Casares were friends, but this slim 1940 novel is definitely a wonder. This early science fiction story with a twist I won’t give away here is a must for fans of speculative fiction.

The Haunting of Hill House by Shirley Jackson

If you know Shirley Jackson from her infamous short story “The Lottery” then you know she can do creepy. But nothing will prepare you for The Haunting of Hill House, which is simply one of the best horror novels ever written. (And the 1960s film version is pretty great too, but, as always, read the book first.)

Enjoy these recommendations? Check out the first list, 17 Brilliant Short Novels You Can Read in a Sitting.