Age of Unlearning: the Forced Narratives of Conversion Therapy

I wrote Boy Erased almost ten years after my experience in ‘ex-gay’ conversion therapy at a fundamentalist Christian facility called Love in Action in Memphis, TN. As many students of memoir know, distance is the secret ingredient to insight. We look back on our lives from a safer perch, and we do our best to render a clear-eyed account of the events that have shaped us into who we now are. It’s a messy process, and even at its best memoir is, to bastardize the oft-quoted Emily Dickinson, a truthful lie. We are lucky if memoir captures even one ounce of the doubt and confusion and contradiction that existed within us at any given moment in the past. Yet it is this attempt to represent nuance on the page that we most admire; it is this battle against personal and cultural memory loss that we applaud; it is this desire to recapture and reclaim the past that makes the reading and writing of memoir a worthy pursuit. Because the past really does repeat itself, and the lessons we learn in our past can be just as easily unlearned. Memoir is always a valiant defiance of unlearning.

We are lucky if memoir captures even one ounce of the doubt and confusion and contradiction that existed within us at any given moment in the past.

The political events of the past few months feel as though they have been lifted from the ‘ex-gay’ playbook. The boy of ten years ago is unsurprised, even if I on my perch have been taken a little aback by being thrust once again into this world of unlearning. Like most cults, Love in Action flourished best when critical thinking died. My counselors at Love in Action made us believe that any unsanctioned interpretations of the Bible or of sexuality were simply ridiculous. To read dissenting opinions was “of the Devil.” Don’t trust them; trust only me. Those other people are simply spreading lies. Sound familiar?

In 2004, the year Boy Erased charts, the country was also in a period of unlearning. We were unlearning compassion and attempting to justify the use of force in places it made no sense to invade. Many media outlets were helping to normalize George W. Bush’s actions, and any critically thinking individual had to decide for themselves whether or not they could trust what they were hearing from the executive branch. Take a boy who is just learning to think critically, throw him into a religious cult where his sexuality is demonized, and set it all within a larger cultural environment where an unjust war is praised as virtuous, and what you have are conditions ripe for character building. If the boy survives, he writes a book. If the boy does not (and the chances are indeed slim), the world loses a bit of insight.

Like most cults, Love in Action flourished best when critical thinking died.

Boy Erased was written during the first major crisis I had witnessed in my country, but it was written for the next one. How could I have predicted that the circumstances would be so familiar? I wrote it primarily for the young adults, the young critical thinkers, who would have to survive so much more than they think they are capable of surviving. I wrote it because literature saved my life, brought me out of the insanity that had been inflicted on me. Literature is still one of the best technologies we have for toppling fascism.

In the excerpt below, I chart my mental development within an oppressive environment. I hope it offers some insight for these times.

[Side note: the ‘genogram’ mentioned in the excerpt below is an exercise my counselors developed to chart “sexual sin” within my family. We were asked to draw a family tree on a poster and then to add “sin symbols” next to family members’ names. The sin symbols ranged from alcoholism (A) to drug abuse (D) to gambling ($).]

The abandoned Love in Action building in Memphis, TN

Age of Unlearning

It was seven o’clock in the morning, but the air-conditioning was already at full blast in the Hampton Inn lounge. According to my schedule, I had two hours to shower, dress, eat, and travel to the facility, but my mother and I were drawing out the minutes, dragging our forks lazily through the scattered mess of cold eggs on our plates, my hair dripping dry, the varnished wood of the table machine pressed, its edges sharp against my forearms. The world that morning seemed harder, as if overnight someone had removed a thin translucent film from the atmosphere, a soft focus I had taken for granted when my mother and I used to come to Memphis for weekends of shopping and movie binging, the city alive and glowing then, pulsing beneath our shoes. Two full days at Love in Action, and the city had already lost its shine, the back-and-forth trips between the Hampton Inn & Suites and the facility revealing only a gray stretch of interstate, its traffic beaming hot in the sunlight, each of its oversize suburban houses yawning with their water-timed green tongues.

I had once heard someone call the city a trash dump, and I’d been offended at the time, but now I could see how they were right. It was the place where things came and went, home of the FedEx headquarters, the city with the most available overnight flights to other cities in the country, steel barges on the Mississippi floating right through the center of it — but the things that gathered and collected here, the things that stayed and took root, these were the things that gave the city its sense of abandonment. If you stayed long enough, you could see how it was perpetually reaching into its shallow past, hanging pictures of Elvis in its many diners, taping signed autographs to its walls, its many sex shops promising thrills that had once electrified the streets amid the buzz of jazz and blues.

Two full days at Love in Action, and the city had already lost its shine, the back-and-forth trips between the Hampton Inn & Suites and the facility revealing only a gray stretch of interstate.

“We’d better get going,” my mother said, though she made no indication that she wished to move, her small hands still flush against the table.

I unrolled my sleeves, the air-conditioning already freezing, my wet hair an icy helmet. Summers in this city meant freezing and sweltering temperatures, sudden changes of atmosphere that shocked the system, sent goose bumps rippling across the skin.

“Okay,” I said, not moving. We’d be late if we didn’t leave soon. Though I’d intentionally left my watch in the room, hoping to lose track of time in the facility, I could see from the plastic clock above hotel reception that it was twenty to nine.

An odd mix of families and business types poured out of the elevator opposite our table: navy blue and black suits and tight pencil skirts, pajamas and hoodies and unsocked feet, a light slapping against the tile as children circled their groggy-eyed parents. It was strange to think of these people going about their daily routines, drinking their morning coffee, staring into the face of a day that must have seemed to them much like any other. CNN droned on in the corner of the room, a streaming canopy of monotonous words spreading across the dining area, seeming to connect the morning to all the ones before it, the syllables almost indistinguishable amid the clatter of plates and silverware — “any effort by Congress to regulate the interrogation of unlawful combatants would violate the Constitution’s sole vesting of the commander-in-chief authority in the president” — people looking up from their tables every few seconds to anchor their gazes to the screen.

I felt lost in all of this, adrift, the daily patterns of life having come unstitched in only a matter of days, and so it seemed absurd to me, even at the time, that the “Guantánamo’ written across the bottom of the screen even existed, all that senseless torture going on somewhere overseas while glittery-eyed newscasters debated its constitutionality. I felt crazy. Wasn’t it painfully obvious that we shouldn’t be torturing people? And yet, at the same time, I thought I could easily be wrong. Hadn’t I been wrong before? Wasn’t this questioning, liberal attitude what brought me to LIA in the first place? If I had managed to stay secure in the Lord’s Word, unquestioning, I might have stayed with Chloe, well on my way to a normal life by now.

I felt crazy. Wasn’t it painfully obvious that we shouldn’t be torturing people? And yet…wasn’t this questioning, liberal attitude what brought me to LIA in the first place?

But I had allowed secular influences to shape me. The day before, one of the staff counselors, Danny Cosby, had asked us to take a long, hard look at our lives and draw a timeline that demonstrated our sinful progression into homosexuality, and I had realized, much to my horror, that most of my same-sex attractions had developed right alongside my love of literature. Sideways Stories from Wayside School: first gay crush; To Kill a Mockingbird: first gay porn search; The Picture of Dorian Gray: first gay kiss. It’s no wonder, I’d thought. No wonder they took away my Moleskine.

Reading secular literature was discouraged at LIA — patients could “only read materials approved of by staff,” our handbooks said, which usually amounted to only fundamentalist Christian authors — but even going a few days without reading had sent me into a nightly depression that made it difficult to sleep. During my high school years, I’d spent so much time and energy guarding myself against enjoying books too much, afraid that a compelling narrative might turn me into a heretic, send me rushing off on one of the sinful life paths I’d enjoyed seeing my favorite characters follow. My year of college had been so freeing, and reading so widely encouraged, that I’d almost forgotten what it felt like to suspect a book of literal demon possession, like I’d believed when first reading A Clockwork Orange. Burgess’s electric language ran through my body so quickly my skin felt aflame, charged with what I could only then describe as demonic power. I wondered if I would ever get the chance to read so freely again or if I would have to stay here at LIA for as many years as the counselors had been here, learning to live with the side effects of my sin, keeping the rest of the world at bay.

My year of college had been so freeing, and reading so widely encouraged, that I’d almost forgotten what it felt like to suspect a book of literal demon possession.

Lord, make me pure, I prayed, looking through my water glass at the blurry newscasters, “Guantánamo” morphing to something like “Gargantuan.” I wanted to join all these other people in their obliviousness, in their laughter, in the casual flip of the newspaper, digest the morning the way I had so many other mornings. But the LIA lingo had already taken up permanent residence in my thoughts, and I had no room for the habitual comforts that usually quieted my mind and made the world seem like a normal place. The night before, lying on the foldout bed in our suite, my mind buzzing with the LIA handbook’s rules, I’d wanted more than anything to take up the plastic Nintendo 64 controller attached to the hotel television and play a few levels of Mario or whatever — anything to stop my mind from its infinite blame loop — but this was forbidden as well.

The Moral Inventory (MI), another piece of AA borrowed by LIA, took the place of my regular reading and writing schedule. Every night I was to focus exclusively on my sinfulness. Every night I was to find an example of sinful behavior in my past, write about it in great detail, share it with the therapy group, and put faith in God that I could be absolved of it.

Lord, make me pure, I prayed, looking through my water glass at the blurry newscasters, “Guantánamo” morphing to something like “Gargantuan.”

MIs helped us recognize our FIs, the development of which we could now trace clearly in the As and Pos and $s and Ms of the genograms that were designed to chart our families’ sinful histories. Though I’d barely revealed any of what I’d learned each day at LIA to my mother, the small amount of terminology I’d let slip through was already too much for her to keep track of — so much so that, speeding down the interstate as I tried to fill her in, she almost missed our exit, another set of numbers and symbols crowding her periphery, demanding her attention.

“Which step is the MI in?” she said, turning sharply toward the exit. A mall on our left, a shopping center on our right, morning light sifting through the leaves of an occasional tree.

“They use MIs for all twelve steps,” I said, the handbook open in my lap, my homework on top. I was rereading the page quickly, scanning to see if I’d written anything too embarrassing to share in front of our group — but, really, all of it was embarrassing. The whole purpose of the exercise was to realize how shameful these memories were and refashion them to fit God’s purpose. My therapy group would provide the necessary feedback to help the transition go smoothly. The whole thing reminded me of a poetry workshop I’d taken in my second semester of college: how I’d felt as I listened to my peers’ contradictory opinions, that the whole point of writing seemed to be to fashion a product that offended no one, supported nothing but the officially accepted dogma.

The whole thing reminded me of a poetry workshop I’d taken in college: how I’d felt as I listened to my peers’ contradictory opinions, that the whole point of writing seemed to be to fashion a product that offended no one.

Perhaps this was the entry fee for the Kingdom of Heaven: cleanse yourself of all idiosyncrasies, sharp opinions, creeds — put no false gods before Him — become an easily moldable shell, a vessel for God. The Bible speaks plainly of what is required. Concerning God’s commandments, The Book of Proverbs says, Bind them about thy neck, write them upon the table of thine heart. If I could have done it myself, I would have already done it: pried open my ribs and etched the Word onto my heart’s beating chambers. But it seemed my ex-gay counselors were the only ones with enough skill and experience to wield the scalpel.

Perhaps part of the reason I couldn’t sleep well at night was that I’d never, before this moment, truly emptied myself of all sin. Without my Moleskine or my books or video games, stripped down and without distraction, I was forced to confront the ugliest, most shameful parts of myself. In order to be filled with the Holy Spirit, I had to be emptied of the human one. Sitting in the car with my shameful past open in my lap, I had no idea if this was even possible.

“How often do you have to do an MI?” my mother said, hands gripped at ten and two on the wheel. I’d never seen them stray from this, not in all her years of driving. Trees passing at perfect intervals; high-line wires dipping and rising; signs along the side of the road all at the same regulation height and width; my mother’s hands never moving.

“Every night.” Despite how pointless I suspected many of LIA’s activities were, I took pride in knowing them so well after just one day, in being the first of the newbies to memorize all the steps. It was a role that felt comfortable, being the good student. It must have been comforting for my mother as well, seeing me act the way I’d often acted in high school.

Perhaps part of the reason I couldn’t sleep well at night was that I’d never, before this moment, truly emptied myself of all sin.

“What happens if you don’t have anything else to write about?” The whine of her lotion-scented skin against leather. She wanted to know what I’d written but was too afraid to ask. “What happens if you run out of material for your MI?”

MIs were designed to bring about personal awareness of an instance when you had sinned against God. In our group’s case, an MI always explored a moment of sexual impropriety, either a physical act or a temptation. What my mother didn’t yet know about being gay in the South was that you never ran out of material, that being secretly gay your whole life, averting your eyes every time you saw a handsome man, praying on your knees every time a sexual thought entered your mind or every time you’d acted even remotely feminine — this gave you an embarrassment of sins for which you constantly felt the need to apologize, repent, beg forgiveness. I could never count the number of times I’d sinned against God. If I wanted, I could fill out a new MI every night for the rest of my life.

“We are under the control of a sovereign God who reigns over all aspects of our lives,” Smid said, quoting the Moral Inventory Flow Chart in our handbooks, a page that featured two black-lined text boxes, one with the word “God” centered in it, the other below it with the words “World,” “Flesh,” and “Satan” equally spaced at full justification. The idea was that, as Christians, we were all under God’s control, but as human beings, we were also subject to Satan’s temptations, a fact that Smid pointed out a few seconds later: “We are affected by a sinful world system, our sinful flesh, and the manipulative attacks of Satan.”

I could never count the number of times I’d sinned against God. If I wanted, I could fill out a new MI every night for the rest of my life.

Smid continued reading the worksheet aloud. The MI was based on the following set of additional assumptions, ones I needed to swallow whole if I was to be cured.

1. We are constantly faced with various challenges in life.

2. We experience the consequences of our decisions as a result of the challenge.

3. We receive strength from God both to desire changes in our lives and to take action based on our goals to achieve these changes.

4. We can find a blessing and see God’s goodness based on scripture for each aspect of our lives.

I was sitting on the far right of our group’s semicircle, the kitchen at my back. I could hear someone washing dishes behind me, a steady stream of white noise followed by the occasional clatter of silverware, metal hitting metal, the rustling of a trash bag. J sat beside me. Every few minutes he would start chewing his pencil, white with a blue logo of his home church’s name. Something Something Something Calvary Baptist. Then he would stop midchomp through the church logo and hold the half-chewed pencil tightly in his grip, this wedge of cratered moon in his hand: a piece of the remote, floating world he’d broken off from all those late nights he told me about, hours spent in isolation and low gravity reading the clobber passages again and again. His hair, slicked back with wax, fell to one side of his face and covered one of his eyes. I was grateful for the shield between us. I kept my MI folded beneath my right thigh, dreading the moment when I would have to stand in front of this group and share my shame. I was especially worried about sharing this story with J, who seemed to have developed a great deal of respect for me in only a few days.

I kept my MI folded beneath my right thigh, dreading the moment when I would have to stand in front of this group and share my shame.

“I think you really get it,” he’d said during one of our patio breaks, scraping his shoes against the blinding concrete. “You get how difficult it is here. You can’t just believe in change. You have to actually work through it, you know? If you want the treatment to last, you really have to allow for the doubt.”

“It feels like that’s all I’ve been doing,” I said. “Doubting.”

“So many people, when they first get here, they don’t really let themselves doubt,” J said, his voice lowering to a whisper. Most of the other group members were still inside, so it felt safe to talk. Only T remained, hunched on a bench with a package of unopened peanut-butter crackers in his hands, the sleeves of his black cardigans still rolled down despite the heat of the afternoon. It didn’t look like he was going to open the package anytime soon, much less engage in conversation. “Doubt isn’t all that encouraged here. People here are too desperate for an answer. But you seem to be all about it.”

I liked being analyzed this way, like a character in a book, like someone with a rich inner life. The only therapy I’d experienced was the ex-gay therapy I’d had during the few intro sessions I’d taken before coming to LIA, and most of those sessions had been conducted under the assumption that the therapist already knew what was wrong with me, a process that felt like the opposite of how I felt when reading a book. Regular therapy was discouraged in our family’s church, our pastor believing that prayer was all you needed to dispel any mental and moral confusion. But J seemed to be a natural at this. He seemed to believe that people could also be understood by their complexities. I wanted to ask him what books he’d read to see if we shared the same loves, but it was against the rules to talk about non-LIA literature.

I liked being analyzed this way, like a character in a book, like someone with a rich inner life.

“I guess you’re right about doubt,” I said. “I don’t want to take the wrong step. I’ve already taken too many bad ones.”

“No,” he said. “You don’t look like you’ve ever done anything too bad. There’s a look people have here when they’ve done something they don’t want to share.” Though we knew there were former pedophiles in therapy, no one talked openly about it, and it was only vaguely hinted at by our most dull-lidded members.

“I don’t want to share any of this,” I said. “It feels too personal.” It wasn’t that I was afraid of my role in the production of sin. It was that I was ashamed of the lack of experience I actually had, or at least the lack of agency I’d had in my experience. How could I let J know, in front of everyone, that my first and only time had already been taken from me against my will?

“You’ve got to share with people,” he said, walking back to the sliding glass door and pulling it open, a gust of cold air hitting my arms. “It’s the first step in the right direction.”

“But what if none of this works? What if it only makes me more confused?”

“Good question,” J said, turning for a second before heading back, as always, to our semicircle around Smid.

It seemed confusion was a key feature of Step One. Out of our confusion we would come to see that we were truly “out of control,” that we needed to rely on God’s and the counselors’ authority. The day before, Smid had asked me to think back to a time when my father and I had played sports. Had I felt uncomfortable? Had I received enough masculine-affirming touch from my father? Had I sought out love from him that he didn’t want to give? After only a few questions, I no longer remembered what I felt. It was true that I was never any good at sports. It was true that I never liked to toss the ball with my father in the front yard. Yes, I might have caught my father’s initial pitch, but I’d eventually thrown down the baseball glove and let the ball roll out of its leather grip. But did that mean I hadn’t enjoyed the way the grass felt beneath my toes? Did that mean I hadn’t loved the feel of the hot sun on my face — hadn’t felt my father’s voice as a warm vibration passing through my chest? I could no longer be sure.

Smid had asked me to think back to a time when my father and I had played sports. Had I felt uncomfortable? Had I received enough masculine-affirming touch from my father?

The Bible often spoke of sacrifice, of how the world wouldn’t understand you once you took up the cross and followed Jesus. “You’ll seem boring to a lot of people,” my father had said on the day of my baptism. “They won’t understand the deep joy in your heart. To them you’ll seem crazy.” But did that mean my father and I would no longer understand each other? Jesus spoke in Matthew: For I am come to set a man at variance against his father. And though I’d read those words dozens of times, I didn’t know if I wanted to give up on experiencing in real life the beauty of the messy, complicated relationships I’d read about in my literature classes. Lord, I prayed in those first few days, help me to know the difference between beauty and evil.

LIA was clear on the difference. On almost every page of our 274-page handbooks lay some iteration of the following: In order to be pure, we had to become a tool, something God could use for the greater good. That meant there was no room for beauty as we had once known it. Any habitual behaviors that made us more than tools were considered addictions that developed out of the harmful messages we’d received in our childhoods. All of this was laid out clearly in the Addiction Workbook.

Addictions stem from a severely distorted belief system. Our minds were fallen from birth, naturally leaning away from truth. This problem is common to everyone. However, when we received confusing or hostile messages as kids, we became vulnerable to developing addictive patterns.

In order to be pure, we had to become a tool, something God could use for the greater good.

The Addiction Workbook went on to say that everything in our sinful, sexually deviant lives had been co-opted by the world, by Satan. In a section titled “You Are a Product of the World (and the Devil!),” we were told that “Satan is the god of this world,” that he has free dominion over everything not directly issued from the church or the Bible, that “it is actually this world that is out of order and upside down, not God,” and that we needed to be willing to test what we think and believe. But it wasn’t enough simply to question our beliefs. We had to be willing to undergo extreme changes, leave people behind who were harmful to our development, who reminded us of the past. We had to be willing to give up any ideas about who we were before we came to LIA: “Also remember that now, as a Christian, you are NOT YOUR OWN, but you have been bought for a price (1 Cor. 6:19), you must see Jesus as Master.” We had to give over our memories, our desires, our ideas of freedom, to Jesus our Master. We had to become His servants.

“It’s up to us to ask God for help,” Smid said. “It’s up to us to beg for forgiveness.”

We had to be willing to undergo extreme changes, leave people behind who were harmful to our development, who reminded us of the past.

When I looked at Smid from this angle, I couldn’t help but notice his striking resemblance to Jeff Goldblum, the actor I’d most often seen in repeated viewings of Jurassic Park: narrow nose, wide smile, sharp eyes accentuated by sharp glasses. But when Smid cocked his head at another angle, his face grew flat, lost its Goldbluminess. One second it was there, and the next it wasn’t. I wondered if Smid had practiced this effect, if he’d figured out the proportions: one Jeff Goldblum for every five boy-next-door, good-ol’-boy Smids.

I tried to keep from smiling. It was absurd, really, how much Smid could look like Goldblum. Afraid I’d start crying otherwise, I relaxed my face into an idiot smile. I wondered if J saw Smid’s Goldbluminess, too, if his parents had even allowed him to watch Jurassic Park as a kid.

J seemed like someone who’d been homeschooled, his concentration too intense to maintain an active social life, and most of the homeschooled kids in the Bible Belt were heavily policed by their fundamentalist parents. Still, I wondered how similar our childhoods had been, though I never asked. No one in the program was allowed to talk much about the past for fear that it would unearth up some sinful pleasure we’d once experienced. This was how I imagined it would feel to meet someone you once knew on earth in Heaven, all the things that had been so familiar completely absent, with only the essence, or the aura, remaining. Death shall be no more, the Bible says, for the former things have passed away. But J and I were still far from Heaven, the white-walled facility only a simulation, and I could still feel the weight of my sin in the bottom of my gut.

No one in the program was allowed to talk much about the past for fear that it would unearth up some sinful pleasure we’d once experienced.

“We can find a blessing and see God’s goodness based on scripture for each aspect of our lives,” Smid repeated. He said it so quickly, his words came out as a string I had to unravel: “We-can-find-a-blessing-and-see-God’s-goodness-based-on-scripture-for-each-aspect-of-our-lives.” It reminded me of the prayers my parents taught me to recite every night as a kid, the words automatic, coming out in a sudden, desperate rush to make contact with an impatient God:

Now I lay me down to sleep

I pray the Lord my soul to keep

If I should die before I wake

I-pray-the-Lord-my-soul-to-take. Amen.

I no longer knew what time it was. I was staring at the strip of pale skin on my wrist where my watch had been. Smid’s words continued running together, and before long the sunlight was slanting across the room, cutting the carpet into polygons. Smid circled our group, stepping around the light. I thought of a game my friends and I used to play after church as kids: one wrong step and you were dead, liquefied by lava; one wrong step and you had to sit it out on the sidelines and watch the other kids play. I angled my foot into the light, the plastic tips of my shoelaces glinting. If only it were that easy.

The handbook felt heavy against my knees, the MI ready to burn a hole through my thigh. Would I eventually learn, like many of the veteran members of our group had, to speak casually about a subject that terrified me? Perhaps it would be a change for the better, getting it all out in the open. I’d already read the sample MI included in our handbooks, and I’d been shocked at the language surrounding the writer’s instance of sexual sin, at the near-constant therapeutic language that seemed to blanket each statement, render it almost unidentifiable in the physical world, all of the speaker’s FIs removed until there seemed to be nothing left but pure godly repentance, a platonic form of recovery, all identifying features already erased.

I’d already read the sample MI included in our handbooks, and I’d been shocked at the language surrounding the writer’s instance of sexual sin, at the near-constant therapeutic language that seemed to blanket each statement.

It reminded me of how I’d felt after I finished my genogram the day before. Standing up from the poster, I’d thought, There they are, as though my family had gathered together in front of me for the singular purpose of revealing my place at LIA. Oddly, it was the first time I’d felt truly comfortable with all my relatives in one room. They were innocuous, staring up at me from their little patch of Berber carpet, surrounded by their labeled sins, stripped of their judgment. And though the grammar needed tidying up, the sample Moral Inventory I’d read promised the same: a life with God; a restoration to our purest presinful selves; the “spiritual awakening” Step Twelve promised we would all eventually experience if we stayed in the program long enough, the world growing dimmer and dimmer until it disappeared from sight. The sample MI felt like a dispatch from another world.

I sought an encounter and used and manipulated another person to medicate me from the pain of my life. I used fantasy as an escape, but when the fantasy was over, reality was even more painful. I believed that he would offer me hope and freedom, but all I found was more guilt, condemnation and hopelessness. I lied to my friends and family about my struggle and attempted to hide from it. My struggle only intensified — my life became more out of control. I believed many lies that I was worthless, hopeless, and had no future. I rejected the people who could help me and embraced the things that were hurting me.

Though the grammar needed tidying up, the sample Moral Inventory I’d read promised the same: a life with God; a restoration to our purest presinful selves.

“Let’s start here,” Smid said, pointing to S, who was sitting on the far left of our group. “But first, let’s remember a few ground rules.” As he recited the rules, he ticked each one off with a finger until he opened his white palm to us: “Nothing illicit. Be respectful. No glamorizing, rationalizing, or minimizing what happened or how you felt.”

The kitchen behind me was quiet now, the main room filled with the sound of hushed breathing, the sunlight so bright against the carpet that it seemed to give off an audible buzz.

S stood and made her way to the center of our circle. Today she wore a long denim skirt and no makeup, her hair pulled back in a frizzy ponytail. She looked like one of those Mennonite women who sold brownies and various baked goods in small-town thrift shops all over Arkansas.

“It started with a kiss,” she began. “I’m not going to go into the details, but that’s how it started. I thought it was innocent, but I was wrong.”

I looked at J out of the corner of my eye. He sent me half a smirk. Get ready, it seemed to say.

“I did . . . horrible things,” she continued, reading from a wrinkled sheet of wide-ruled paper that trembled in her hands. “I felt so much shame. I knew God was disappointed — more than disappointed. I turned my back on God. I entered into a sinful relationship with another girl. It was disgusting. Now that I look back on it, I realize how disgusting it was.” S looked down at her skirt. She closed her eyes.

“Don’t be afraid,” Smid said.

“That was why — that was why — ” She kept her eyes closed. “I think that was why I ended up with the dog.” The word “dog” sounded like a curse, something that had been boiling up inside of her for years.

She was in the Consequences section of her MI, well on her way to the Changes section — “I want to change myself. I’m tired of feeling empty inside” — the whole MI outline designed to lead her to redemption. The rest of her account was rather straightforward, with a string of stock phrases supplied for each section. Her voice, when reciting the phrases, swelled with a kind of pride that hadn’t been there only a few minutes before.

Her voice, when reciting the phrases, swelled with a kind of pride that hadn’t been there only a few minutes before.

Strengths: “I’m learning to rely more on God, to trust in His grace.”

Goals: “I want to read the Bible more every day, really listen to God’s voice.”

Blessing: “I see now how much love I’ve been given, how many blessings God has bestowed upon my life. I see how truly ungrateful I’d been in the past.”

Step Application: “I think this experience, and the memory of it, applies most directly to Step Three. I’ve made a decision to turn my life over to the care of Jesus Christ.”

Scripture: “I took my scripture from John, Galatians, and Psalms. We can never trust ourselves. Every bit of our trust has to be turned over to God.”

Three, four, five more people had gone, their stories fusing together into one long string of repentance. The room was freezing now. I rolled down my sleeves again, buttoned the cuffs.

“One of our new members is going to share for the first time,” Smid said, walking toward me. I could feel J’s eyes on me. I could tell he was trying to encourage me, but it only made me feel worse. I pulled out my MI from under my thighs, my hands shaking.

“One of our new members is going to share for the first time,” Smid said, walking toward me. I could feel J’s eyes on me.

“Would you mind going?” Smid asked me. His voice was soft, polite, encouraging.

I stood up and made my way to the center of the group. I coughed. I wanted to tell everyone how cold I was, how I wasn’t shaking from fear but only shivering.

“Take your time,” Smid said.

I could make a run for it, I thought. I could push open the sliding glass door and run down the streets until I made my way to some public park where I could hide.

A clanging of metal on metal from the kitchen. I coughed again, and added my voice to the chorus.

[Boy Erased is out in paperback now. Garrard Conley ’s memoir workshop at Catapult starts March 20th, and is currently accepting applications.]

[

New Walt Whitman Novel Discovered

Among his multitudes, Whitman also contained a mediocre novel

Whitman Portrait, aka The Sweaty-Toothed Madman

It seems a new work needs to be added to the iconic Walt Whitman oeuvre. The short novel Life and Adventures of Jack Engle, which first appeared in 1852 as an anonymous serial in the now defunct New York newspaper, The Sunday Dispatch, was penned by the great poet, according to recent scholarship. Jack Engle is a quasi-Dickensian tale, with some distinctly American aspects; it “features a villainous lawyer, virtuous Quakers, glad-handing politicians, a sultry Spanish dancer and more than a few unlikely plot twists and jarring narrative shifts,” according to The New York Times.

Zachary Turpin — a Whitman scholar and a graduate student at the University of Houston — made the discovery by cross referencing names and phrases from the poet’s notebooks with digitized databases of 19th century newspapers. The novel isn’t Turpin’s only Whitman find. Just last year, he unearthed Whitman’s 1858 self-help manifesto Manly Health and Training , which was originally published under a manly pseudonym — Mose Velsor.

While reviews of Jack Engle have not been stellar — either in the past or the present — Whitman aficionados appear energized by the discovery. The text is currently available online at the Walt Whitman Quarterly Review. It’s worth remembering, however, that Whitman likely would be rolling in his multitudinous grave if he learned of the novel’s sudden attribution and prominence. When a critic planned to republish Whitman’s fictions in 1891, the poet remarked, “I should almost be tempted to shoot him if I had an opportunity.”

“You Wouldn’t Have Known About Me” by Calvin Gimpelevich

“You Wouldn’t Have Known About Me”

Calvin Gimpelevich

We’re sitting in the commons when Annie says I look like a man. She says it like this: “They did a good job with her. She looks just like a real one.”

Lisette corrects her, but her mother gets confused about the difference, so Lisette repeats herself, enunciating very clearly. “He is a man. He doesn’t look like one. He is.”

You Wouldn’t Have Known About Me (Electric Literature’s Recommended Reading Book 249)

“But not everyone passes,” her mother says. “Right? Isn’t that what you meant?”

“Oh yeah,” Annie says. “The boys are lucky. I wouldn’t have known. With us girls, it’s completely different. I can always tell.”

Lisette drops her face in her hands. They’ve been at it a while. “Oh my god. No you can’t.”

She is the youngest, while Annie, at sixty-two, is older than everyone here. There are six in the new batch, all women, plus two: Lisette’s mother — whose name I don’t catch — and Cecily’s younger amant. The patients arrived with two and three rolling suitcases apiece, shedding coats and stacking their boots in the foyer. Shoes are not permitted inside, excepting the nurses’ bleached clogs.

It’s all very sterile.

Annie, Lisette, and her mother have camped in the television room with the couches, while the others check out their rooms, and Cecily harasses the cook about her diet. “Beef if it’s grass-fed,” she says, “Chicken or turkey if not, no fish, and vegetarian if none of the meat is organic.” The cook repeats, “Organic,” and Cecily says it again, drawing each syllable out, “Or-gan-ic,” to correct the cook’s heavy accent. Cecily’s boyfriend is Quebecois and she asks him to translate. The nurses and staff are bilingual-French. The guests are all anglophonic. “You know what?” she says to her boyfriend. “Never mind. Can you just pick something up? Does Canada have a Whole Foods?”

Cecily and I are Americans, as in, The United States of, but the rest are Canucks. There is a push-pinned map of the world on the wall, showing each country, province, and state their patients have come from. Beside it is a thank-you painting, whose butterflies, on closer look, are actually fluttering vulvas.

The women talk. I don’t. I’m still in a lot of pain. My surgery happened a few days ago, but I had some kind of reaction to the oxy and have only begun to leave bed. Other than that, it was simple. They took the fleshy remnants of my breasts and cut the excess before trimming down and re-attaching my nipples. They put stints on the nipples, drains in my ribs, and wrapped me up in a compression vest — an attractive foam pad held still by wide white elastic — to keep the pressure up on my chest. Not at all like what they’re here to get.

Lisette wears a pentagram-covered quartz necklace. She has eyeliner and is current on all of the terms. Annie isn’t. Lisette can’t resist. She says, “You wouldn’t have known about me,” but Annie swears that she would. “It’s the Adam’s apple,” she says and taps on her own. “Can’t hide that or the hands.”

Lisette’s mother says she read an article about a girl who transitioned while very young and how she’d never have guessed. Annie says it’s different when they catch it young, and I turn up the TV, which has something about a psychic. Everyone is off hormones — you have to be, for the surgery — and volatile. Hormone withdrawal brings mood-swings and unwelcome sensations and smells. It’s a betrayal, that bodies revert — though theirs won’t anymore if all of the surgeries go well.

Annie is wind burnt, bottle blonde, and wearing pink slippers. She was a pilot. Like me, testosterone has squared her face out, which makes her insist she can’t pass. Lisette, disagrees, says she’s just middle-aged. Lisette, herself, is narrow and golden, hair pulled in a loose bun. Her mother, darker, petite, worries her hands. She wants my thoughts on the surgeon, but one of the nurses cuts in to announce dinner and help me get off the couch. I lock my elbows into my ribs and let her pull on my hands. With enough clench my stomach takes most of the pressure and my shoulders don’t shift and then it isn’t so bad.

Lasagna and salad. Everyone gets to the table, introduces themselves, I meet Lily, Marion, and Diana, and the usual questions ensue. When did you come out? How did you know? Was it hard? Was there loss? Your job, your parents, your friends?

“I, for one, think it’s amazing you flew out here for her,” Lily says to Lisette’s mother. To Diana, “Can you imagine our parents doing that? I would have killed,” and Diana, whose parents are dead, doesn’t answer. Marion has a girlfriend who wanted to come, but whose flight was delayed. Annie’s children don’t know she’s here because they’ve got enough on their plates. Cecily serves herself, picks at the lettuce, and throws the rest out when her boyfriend returns with a shake.

Lily says, “I can’t believe it’s going to happen. Two years on the Medicare waitlist — I thought about flying to Thailand, but — ” she shrugs. Marion blames rich Americans cutting in line. “That’s why the wait is so long for our insurance.” To me, “No offense.” Cecily, opening a fashion magazine at the table, says, “Supply and demand.”

“If Americans cared — ” Marion starts, but Cecily tells her amant that it’s time they looked at the room. The pairs leave and Marion says, “They could fix their own bloody system before mucking up everyone else’s.”

My stomach’s still tight and the food seems plastic. Play food. I’m tired. I want to go to my room, but it’s upstairs and the nurses are on break in the office. I try anyways, leaning forward with my elbows tucked in. I look like a raptor. There’s snow blowing against the window. With a lot of effort, I manage three steps.

Lisette’s eyes light up when she sees me, coming out into the hall. The expression gets to concerned pretty quickly and she runs up to support me in case I fall. My breath is heavy. It’s kind of pathetic. Everyone else is at dinner. I ask her if it was the food or the company that was bad.

“Both.” She laughs. “Everyone’s awful.”

“What? You don’t like Annie?”

“Oh my god. She’s my roommate. I hate everything.” Away from her mother, Lisette seems older — more self-possessed. “Do you want to just hang in my room?” she asks. “I’m around the corner, so, uh, no stairs.”

“Yeah,” I tell her, “Okay.” I’m still leaned up on the railing. “Not that I couldn’t do it.”

She laughs, even though it wasn’t funny, and wraps her arm around my shoulders in a way that brought us together more than it offered support. We hobble down the steps and into the hallway. I haven’t showered in days. The rubber tubes hurt when they jostle and so does the fluid that comes out and sets in the drains. Twice a day I have to dump it, or a nurse does and marks off how much collected, and it stinks.

“Do you work out?” she asks.

“A little.”

“It looks like you do.”

“Thank you.”

“I mean, you have nice shoulders.”

“Thanks.”

Her room looks exactly like my mine, with two beds stuck in a little bland room and a window, except for the luggage and the clutter all over the beds. I can tell right away which one is Annie’s because it looks like a little girl’s. Everything pink and purple. She brought her own bedspread.

Lisette’s nightstand has an arrangement of crystals. I recognize the quartz and pyrite, but none of the rest. They’re laid in a half circle around a big one, and behind are some tall candles in glass — missing the Mexican saints. On her bed she has a denim vest and a pile of Christian inspirational pamphlets. They’re the ones people hand out at bus stops — all kinds. I see a Jehovah’s Witness pseudo-science kind of textbook asking Cat Whiskers: Chance? Or Design? with insert captions and quotes. Then there’s the fire and brimstone-type black and white comics, with pictures of hellfire, damnation, and an evangelical chick tract calling Halloween a satanic slap in the face. People hand me those, and I toss them, but she’s got a whole dog-eared collection. She pushes them off of the bed. The vest is covered in patches. I know people like her.

Her mother is driving her crazy. She’s treating her like a baby — as if she hadn’t, you know, cut her off when she told her, tried to, like, starve her back into the closet, or settle for just being gay. “And now she keeps buying me things, you know? Like, retroactive guilt money. Like, I don’t need a fucking, uh, Martha Stewart brand toaster or air purifier or shit. I live in a commune.”

Lisette’s sitting on the bed and I’m beside her and she’s the same height sitting I am when I stand. I’m surprised she hasn’t brought posters. I could see something political or explicit tacked up over the bed.

“It’s, like, a half-squat group house in Vancouver, and I’m just like, how out of touch can you get?” She looks at me. “I’m sorry. That’s boring.”

“It’s fine.”

“Do you have parents?”

I shrug. “Fuck ‘em.”

“Right?”

“If they don’t like how I am — if they’re not willing to help pay, then who the fuck cares?” There’s more vehemence in that than I meant. It sounds bitter. “Not that I’m bitter,” I say.

She laughs again. “I like you.” She talks more about her relationship with her mother, lying back with arms crossed behind her head. I can’t do that. I can’t get up if I lie back again. I don’t want to be stuck there. She keeps talking. I’m in so much pain.

“Are you nervous about the surgery?”

“A little. It’s worth it.” She touches the elastic wrapped over my back. “How long do you have to wear that?”

“Just a couple more days.”

“Have you seen it?”

“Not yet.”

“Does it hurt?”

“It’s okay.”

“Can I see?”

“Yeah. When they unwrap it.”

“You can see mine when it’s done.”

There’s a knock and Lisette’s mother opens the door. “Oh!” she says. “You’ve got company. I had no idea.”

Lisette says it’s fine without getting up.

“Okay, well, I’m heading out soon. Do you need anything? Are you sure? Alright then — well, you know where to find me.” To me she says, “I’ve got a room nearby at the little motel.”

“Bye, Mom.”

“Come give me a hug.”

Lisette groans.

“That’s right, I’m just your mother.”

I didn’t think they looked similar, when I first saw them, but it’s starting to come together. Different colors, but they have the same hands, the same rounded face. They move their hands the same way. Her mother sees me watching. “She takes after her father. Took after.” She gasps and covers her mouth with both hands. It’s a large gesture. “Was that offensive?”

“It’s fine.”

“Are you sure?”

“Yeah, mom. You can say that.”

“Really? Okay. You know I’m still learning. I’m just trying to make sure.”

América is the last arrival and she comes the next day. She’s here for revision, so she’s already got one, which sets her apart. She has to spend an hour dilating, because it’s still fresh. She’s doing that when I find her, lying splayed out and naked on the bed.

Not technically naked. She still has a dress, but it’s pulled up to her shoulders and there’s nothing beneath but the dilator, which is in her. I notice that she’s still on the smallest of three. I’m not in her room, but the door’s open. She didn’t fully shut it and it’s crept open, widening out of a crack.

In the main room they’re watching Disney, but not really, an old princess film. They don’t have a video player, so it’s whatever is on the TV. A bunch of it is in French. Annie, Diana, Lisette, Marion, and Lily. Cecily went out to sneak a cigarette. It’s against the rules for surgery, but the nurses will only scold her. She’s not Canadian, so it’s all out of pocket. They won’t stop her. She doesn’t care.

They’re talking about sex. Also the surgery, but everyone’s always talking about surgery, so that doesn’t count.

Marion is fretting about her girlfriend because she wants to have sex one last time, the old way, before surgery, but her girlfriend won’t come until later. The blizzard still has her delayed. She leans in, talking about it as though it’s scandalous, the kinkiest thing you could do, and Annie takes the bait. She says, “I could never do it that way.”

Marion loves it. She pushes. “Why not? It’s fun.” She has a dark A-line. She winks.

“Oh, no,” Annie says. “Never. I haven’t even once since I realized.”

She lets that sink in.

“Wait,” Lisette says. “Nothing?”

“Not for twenty-five years.”

The room is quiet. A princess, onscreen, gets her new gown.

“I can’t wait for a pussy. Let me tell you. I’ve got it on my calendar. Six months and then we are going to have some good fun.”

Lisette is so horrified that she has to leave. “No sex,” she tells me. “How does she live? No sex at all.” We pass América’s room and she’s still at it, stretched over her bed. I’m better today, walking better. América sees me looking. I ask if she wants me to shut it, but she says it doesn’t matter. “Who’s ashamed? I’m not.”

“Have you seen one?” she asks Lisette.

Lisette has seen pictures.

“Well, why are you waiting? Come in.” She has the middle sized dilator in. The other two are on the blanket, bright as Legos, with lube. The big one’s impressive. I tell her, I was born with a cunt and I still don’t think that would fit.

América says everything’s wonderful and Lisette shouldn’t worry and the surgeon did a great job. She has a beautiful pussy. I see scars, but they’re minimal, one on each labial lip. They look cosmetic. “Racing stripes,” I tell her, and we all laugh. “For speed.”

She goes up to the big one, the whole time very detached. Clinical, rote, tooth-brushing chores, in the beige and white hospice-care room. It’s attractive. She has an accent. Is forty, perhaps forty-three. “Why that name?” I ask her, and she says it’s because she has everything in her, North and South and all of the countries within. She comes from the Caribbean.

Lisette touches my arm. I look at her. We leave and go back to my room. I’ve still got the foam, but as soon as we’re in, she tears at the rest of my clothes. I go for hers, lifting the shirt with my raptor arms, getting past the pointed young breasts. My pants are down in a pile of flannel. She kneels down and then bends a little further and puts my little cock in her mouth. She does that and then gets with me in the bed. I rub her long clit. It stays soft, but she rubs it along my junk some, pushing at the entrance, and then we give in. Nobody’s going to climax. I could masturbate, but it’s honestly not worth the pain.

We lie next to each other, not touching. “That’s probably the last time…” she starts. I wait. “I can’t believe Annie. How hard are pronouns? She was talking about Diana and kept using ‘he,’ and I’m like, ‘You’re trans. How can you not get this?’ and then she was still saying ‘he’!”

My incisions are pulsing. I can feel the heat coming off them, a sharp endless ache.

“She’s driving me up the wall.”

I am only wearing the binder. I say, “She’s older. She doesn’t know.”

“She should.”

“She’s uptight.”

“Because she hasn’t been fucked in my lifetime.” She is daring me to answer. She arches her brow.

I tell her I need a nap and she obviously isn’t impressed, but she can’t say anything because we’re all here for surgery, so you have to be considerate of all the failings, of the hygiene slips and the shuffling, to keep the awareness from working both ways. If she can convince herself that I don’t look geriatric and wretched, that I’m attractive post-surgery, the gauze will also shield her.

I can’t sleep when she leaves, but do arrange myself on the cushions so I’m propped up and reclining, because that’s the most comfortable way. I can’t take the painkillers after my bad reaction, so I’m just stuck here breathing, feeling my lungs stretch and pull on the stitches and trying to manage that pain.

Nothing that happens here matters. It’ll collapse into a sentence — that time I went to Canada for my surgery — and all the patients and nurses and hospice-stuff will disappear. If I had a family, I’d let them coddle me, fetch pillows, get water, basically make me an infant. They should be here, but they aren’t. The Canadians don’t realize how lucky they are to have their surgeries paid by insurance. Lisette doesn’t know.

Eventually I must have drifted off, because I wake to the pipes starting up. All the ladies have to shave their lower halves, under threat of the nurses re-scraping if they do a bad job. They take up all of the bathrooms for hours, trading off one-by-one.

At the hospital, they’re assigned different rooms. Now Lisette and Marion are together, Cecily bunks with Diana, Lily and Annie are together, while América and I stay in hospice. She transfers tomorrow. It stopped snowing and the sky shone, darkening, as we crossed the grey car-splattered slush into the building next door. Here was the hospital, everything medical, none of hospice’s careful touches, it’s sterile-informal décor.

Lisette and Marion like the same music. They play witchhouse off of a laptop on the faux-wood meal tray. There are different nurses giving different orders to different women (in the same accents) on how to prepare. It’s a night here, surgery all day tomorrow, then two days of recovery before returning to hospice for more care.

There is no common space — just the lobby — and no internet or TV. The women are restless, opening and closing books, journals; wandering into new rooms. I look out the window. There’s a street, the snow, and the streetlights. Lisette and Marion get up and sit down. Even Cecily comes, wearing a satin kimono over the hospital gown. Her boyfriend follows, moon-eyed and silent. They’re too restless for conversation. I don’t stay long.

Lisette’s mother is already here when I come the next morning. They haven’t started. The nurses are eating bagels and I see the surgeon walking with his assistant, snapping his blue rubber gloves. A nurse comes out with a schedule and when Annie is first, not her daughter, Lisette’s mother leaves.

It’s early. I’m tired, but don’t want to miss anything. There’s some excitement as Annie gets strapped to the gurney, but then they take her and the lobby goes quiet. I look at a French magazine. It takes two hours.

She comes out in her blue gown on the gurney, hooked to a few tubes, looking ecstatic. Also, exhausted and drugged. They used a local anesthesia, so she was conscious, sometimes, and says it was worth it. She is so happy. They did it. She did it. It’s done.

They roll her out.

Next up is Lily, then Marion, then Lisette, then Cecily, and finally Diana goes last. Twelve hours of surgery. I don’t know how they do it, the doctors, or why it has to be in a day. I wonder if they’re drug addicts, or how else they stay awake and in shape.

Most of the women are sleeping. Lily’s gown wants to open, and, while adjusting, she starts to cry. “Don’t mind me,” she says. “It’s nothing.” A nurse hands her a tissue. “I’m just nervous. I’m fine.” They wheel her away and another nurse asks me to follow her into the examining room for a checkup. I’m wearing the binder under an open flannel, which she carefully tugs back and over my arms. Beneath that are jeans — I was sick of pajamas — but those are left alone. She opens the binder and the pressure lets up from my ribs.

I can finally see what they’ve done.

The cuts go across my whole chest. Red raw lines held together with a yellowing plastic thread, and curved up at the sides. She holds up a mirror. I see wrinkles where the seam pulled my skin in. “Good, yes?” The nurse traces the line, showing me how the incision both sits under and helps to define my pecs. “Soon, you don’t even see.”

My drain tubes go into the corners, and the cuts around them look open, like the stitching might come undone. It is so red underneath. And tender. Now it’s exposed, my chest feels tender and young.

She has to remove the drains. I lift my left arm as high as I can while she snips the threading around the first tube. She pulls. It hurts more. Three slippery inches of plastic leave me, and I’m in a bit of shock, seeing how far in they had gone. She does the other side before I’ve really processed the first, and it hurts, but I feel so much better when it’s all done.

I have a new chest. There is no extra. There are no tubes. There are no breasts.

I haven’t had a chest like this since I was eleven, and then it all went to hell. I mean, I put up with it — thought, I don’t like it, but I can deal. But now I am so much lighter. Happier, in an indescribable way.

I want to see how my shirt fits, buttoned, without the binder — I’d like to never wear a binder again. No more Velcro or bras or getting too hot in the summer or checking, re-checking, the mirror to see if it actually is hiding my breasts.

But, of course, I have to wait while everything’s raw. The nurse puts the foam back over my chest and seals the white Velcro tight enough that I feel the pressure with every small breath.

At least I know what it looks like. That’s good. I’m kind of winded. Sweaty. I smell like a man. The nurse leaves and I sit there for a while, thinking that it was all worth it, that I’d do every part over again. My body is already healing, trying to close up those holes. It makes me so tired. I need a minute. Marion’s under the scalpel when I come out.

Lisette and her mother are in the lobby. Her mother has takeout coffee and a memoir. She has the book open, but isn’t reading. She’s watching Lisette apply makeup, and asking if that’s really necessary for a medical procedure. She seems worried that it will increase the chances that she might infect. “Besides,” she says, “it’s a little bit much, don’t you think?”

Lisette has her eyes done up like an Ancient Egyptian portrait, with the black line over her eyelid that spikes up off to the side. She has sparkling wine-colored eyeshadow that matches her lips, and the effect is very high art.

“It’s, well — ” she drops her voice. “It’s not womanly.

“Mom!”

“It just — I don’t know, you’ve worked so hard to look like a — well, to look like yourself and I don’t want people to think you’re, you know, a, well, like a drag queen.” Lisette doesn’t answer. She’s darkening her eyebrows. “I don’t want you being misunderstood.”

Diana comes out and asks the reception desk nurse if she can re-check the schedule. The nurse tells her nothing has changed.

“I’m a mom,” Lisette’s mother says. “I want mom things.”

Diana takes the paper schedule. “For my peace of mind. Just to see.”

There are more nurses heading back and forth through the lobby, holding objects and clipboards, telling things to each other in French.

“Look, she’s not wearing makeup,” Lisette’s mother says of Diana.

Her daughter snaps the compact. “This is my armor. I’ll do it my way.”

“It’s just that it makes people think you have something to prove.”

Diana’s listening, pretending to look at the schedule. She moves her lips like she might say something. She looks pained.

I tell Lisette she looks great.

“Really?”

“Yeah. And I just got my drains out and saw my chest and — ” I stop because she’s turned back to her mother. Lisette says, “Drop it already, okay?”

Her mother frowns and goes back to the memoir. Her coffee lid is covered in tooth marks. She bites the lid as she drinks. Diana returns the schedule. I sit in the chair nearest me. There is an uncomfortable, avoidant silence, until Diana’s attention is caught and she points behind me and claps. “Will you look at that?”

I try twisting around. Slow going. There is, as always, the pain.

“I can’t believe that you’re up!”

Annie walks into the center, shuffling in her gown and pink slippers, hooked to a rolling IV. She looks fine. A little bit tired, but not like she’s had a big surgery. I thought she’d be out for a while, given her age, but nothing seems to phase her ex-military endurance, or healthful orange suntan. Diana asks if she should be walking and Annie waves off the concern. “I’m doing just fine — hurts less than when I lie down.”

Her slippers are the cheap fuzzy kind that are soft and then quickly matted — dirty and stiff, but hers still have the new tag. She asks what she missed while she’s out.

Diana tells that Lily and Marion have both gone. “And Marion’s should be almost done.”

“Very good,” Annie nods. “And I see we’ve kept our young man.” She winks, dramatically, at Lisette. “He wants to keep an eye on you, doesn’t he?”

Lisette looks away. I say that I came for a checkup. Time to take out the drains.

“Well, that’s wonderful. I mean it: you boys are lucky. The hormones do everything. Next they can make you a willie and then no one will ever be able to tell. I’ve still got a while. I’m thinking about those facial feminization surgeries. I’d like to shave my jaw down.”

I don’t want another surgery. Maybe a hysterectomy, someday, if I get cancer or if it stops working — because I’ve heard testosterone does that, makes your uterus sick — but I’m not getting a dick. Annie tells me I’ll change my mind. Lisette tells her I know myself best. I say that even if I wanted one, I couldn’t afford it. Forty-five thousand dollars. That’s what it costs for a dick.

Diana says that’s positively barbaric. “Your country makes you pay the whole way, doesn’t it? I keep forgetting you’re from the US.” She asks how I paid for my chest and I tell her I put it all on a card and she tells me it’s awful that I’d have to do that — the interest, the credit, and I tell her it wasn’t my card.

“Come again?”

This is a long story. There is a compressed version in which I do not talk to my parents, but they talk to my brother, and I visit my brother, and help myself to the emergency credit card that they gave him, because, I think, I’m family. It’s a medical family expense. “I mean,” I tell them, “It’s not like they can’t afford it.”

Annie, Lisette, her mother, and Diana are all looking at me. “They should have paid in the first place,” I say.

Lisette’s mother closes her book. “That’s awful.”

I start saying it isn’t so bad, but —

“How could you do that to them?” She leans forward in her chair. “They’re your parents. You can’t cut them out of your life and expect — that is just so selfish,” she says.

Lisette says, “Maybe he didn’t cut them out, Mom, did you think about that?”

“Lisette, I do not like that tone.”

“Maybe cutting your kids off is fucked up and oppressive and maybe he’s doing his best to survive.”

“Lisette, I am sorry if I wasn’t perfect, but I am doing everything I can to support you. This isn’t easy for me.” She pauses. “It isn’t easy to wake up one day and find out that everything you did as parent — even though you did your best — that it was all wrong and your ideas have been wrecked.” She’s someone who cries when they’re mad. “I thought I did the right thing.”

“Well, you didn’t.” Lisette says. “I’m taking a walk”

The nurse says she has to stay in. Marion is nearly finished and Lisette must put on her gown. She leaves. Her mother doesn’t. She’s still tearing up. Diana pats her shoulder. “I wanted grandchildren. Is that so mundane? She’s showing me all these articles and theory and I just had this vision,” her voice broke, “of going to his wedding and holding my grandson.” She wipes her eyes. “No, thank you, I’m fine. It’s all fine. I’m here aren’t I?” She smiles. Her face still looks tight. “I need a cigarette.”

Lisette’s mother bundles up into her winter coat and snow boots and takes a breather. Lisette enters surgery. Marion sleeps. Lisette comes out. Cecily’s awake enough, after her surgery, to tell her amant to shut off the camera. Diana goes last. It’s so late. Marion’s girlfriend finally arrives and they spend a long time kissing, the girlfriend’s long hair functioning as a curtain to shield them from view.

Most of them are bedridden, save Annie, who glides around with her IV. They all have plastic bracelets. They all have blue blankets, blue gowns, and white sheets. Lisette has lost her makeup; they wiped it off in surgery. She doesn’t notice. She sleeps.

Her mother isn’t talking to me. I think, Nobody cares about me. Melodramatic. That’s wrong. I’m off hormones, my feeling are going all over. It’s like PMS, with the estrogen spiking, but worse. At least I still have my chest. In a few days I’ll leave and it’ll be over. I don’t need a family. I stopped talking to them when my parents refused to switch pronouns. Nobody cares about me.

América checks in as I leave. Her revision will be easy. She’ll go home the next day. I put on my coat, slowly, alone and slip on my boots. Today it didn’t snow, and the ground has mottled, pocked with footsteps and grime and more slush. It’s dark out. The nearest streetlight is dim, yellowing in a way that suggests the bulb is in its last days.

The hospital seems unnaturally bright. I can see into each window, illuminated by white fluorescents, and doubt that they can see me. Lisette and Marion are both in their beds, Lisette’s being the one by the window. Her mother sits on the sill. I can see her back, the heather cardigan and slacks riding low, and I can see her hand on Lisette’s sleeping forehead. Her purse is on the sill, as well as the open memoir.

I have my chest, I think. And I don’t have to be jealous. I’m older than Lisette by a couple of years. I don’t need to be coddled.

It’s hard for most of them the next day. Hard to eat, hard to sleep, painkillers. América’s surgery is done before I arrive, and she feels okay, but the rest are nauseous or hurting or both, and irritated at the mixture. Annie still can’t settle down and goes from room to room, checking on the patients. The others don’t get up for anything but the bathroom. The nurses are more obtrusive than before, checking-in and handing out pills. Cecily complains that the nurses are too brusque, too medically efficient. She had a breast job in the States, and was the only patient that day, bathed in the entire staff’s solicitous attentions.

Of course, that was a plastic surgeon, Diana points out, with something to sell, not a state-run medical doctor. I have to agree. They act like the nurses I’m used to seeing at my stateside community clinic — efficient people taking care of a medical necessity — not selling something cosmetic.

Cecily isn’t convinced. She sends her (notably handsome) young man into Montreal for a few odds and ends she is missing. He has hinted that Cecily works in LA, doing something glamorous and important.

Diana, by contrast, does not. She has her career in preschool. She’s also managing fairly well, the only one to have eaten her whole lunch of bread and soup and jello.

I’m also better. I slept the whole night, without breaks, and this morning I took my first shower. There are only two more days with the compression vest and, after that, I’m done with binders forever. It feels like I could lift my arms over my head, but try not to get that excited.

Lisette is in a terrible mood, trapped and fighting nausea. She has an eighties cult television show on her laptop, which she half-watches while flipping through Christian pamphlets. She has a thin blonde beard dusting her lower features. There is nothing unfeminine about this. Her face is soft, softer, even, with the hair and it took me a moment to realize what was different, to remember that most women don’t grow facial hair.

I can’t move my shoulders enough to shave and have grown my own patchy beard. The effect is not the same, especially with my (diminishing) acne. Trans women, on the whole, get better skin on hormones. Trans men tend to the other direction.

Lisette disagrees about hair. She wants to know if the nurses will shave her. I tell her I’ll ask, but she doesn’t want me to leave. Her mother’s in town and Marion is still kissing her girlfriend. She says, “I’m sorry I’m such a brat.”

We watch her computer. She holds her bladder in for an entire half-season, but then a nurse has to help her out with the catheter. I stay with Marion, whose girlfriend went to forage. She asks if I want to see something.

“What?”

She arches her brows. “You know.”

“Okay.”

She hands me her cell phone and I look at the picture. “I had a big one, didn’t I?” she says. “It’s gone now, so I don’t have any shame.”

Annie rolls in and wants to know what we’re seeing. Marion switches the picture. “Cats,” she says. “Isn’t that a cute little cat?”

Annie oohs over it. What a sweet little kitten. Is it Marion’s? It is. She and her girlfriend adopted him over Christmas. “Oh, a boy cat,” Annie says. “I always think about them as girls — though I suppose they do have the whiskers.” She tells us a story about electrolysis, how that was the first thing she got done, even before starting hormones. She’s surprised Lisette hasn’t had her hair removed yet. “He’s never going to pass with that stubble.”

Marion says, “She.”

I say, “She passes.”

Annie assures me I’m wrong.

“Does it even matter?” I ask. Annie thinks that it does. Lisette overhears, coming back, and tells Annie she’s going to grow a big bushy beard. “Like a lumberjack woman,” she says, and Marion laughs. She thinks that’s a wonderful joke.

By the time they return to hospice, everyone is up and walking. It isn’t much, maybe a few steps at a time, but enough to get the blood going.

Nobody wants to be shunted back into her bed, so most everyone’s in the commons. Five women, three guests, and me. América left that morning. I’m gearing up to leave too. I’m heading out tomorrow. The thought isn’t great — I don’t know what I’ll do back in the States. Absolute worst case, my parents will have me arrested. What I did counts as grand theft and, if they prosecute, a possible felony. I don’t think they’ll do that, though. Who does that to their kid? It’s not like that’ll return the money. And they can afford it, I think. It isn’t about the money.

Lisette and her mother talk about family. So-and-so gambles too much, So-and-so lost his kids, So-and-so-and-so-on-and-so have all of these problems. “It makes me look like a success, doesn’t it?” Lisette says. “I got a sex change, but I’m not that fucked up.”

Her mother says she ought to go back to college.

Lisette says, “Oh my god,” and I think it’s her response, but then she moans and puts both hands on her vulva. “Ow,” she says. “Jesus fucking Christ.”

Her mom sits up. “What’s wrong?” Cecily, Diana, and I all ask the same question. “Oh,” she says. Her face is screwed up. “Oh, it hurts really bad.”

Cecily’s boyfriend goes for a nurse. Lisette tears up. “It’s like a stitch ripped.” The first nurse comes to her side. “Where are you on the pain scale?” the nurse asks, as a second one hands her some pills.

“Eight,” Lisette says. “Maybe nine.” She bites her lip. “Fuck!”

A third nurse comes with a gurney. They lift her up and Cecily’s boyfriend offers to help, but they shunt him away. I’m worried her body’s rejecting. Lisette’s mother follows them to her room. I come with. A nurse tries to shoo me away, but Lisette tells them I should be there. We’re each holding one of her hands, Lisette’s mother and I, as they park her into room.

Annie’s in there, taking a nap. She’s felt worn out and sick, since getting back. Everyone says it’s from all the walking.

The nurses cut away Lisette’s clothes. They take the ice pack off of her crotch, and cut through the surgical tissues. Someone has called the surgeon and he’s on his way. Annie wakes up and wants to see what’s going on. She’s wearing her pink pajamas.

Lisette is trying hard not to cry as the nurses remove the last of her coverings. I can see it, the two big incisions on either side, and the puffy new vulva in center. It’s all so swollen, I can’t tell what’s wrong. It looks like an angry vulva.

“I want to see,” Lisette says while the nurses are checking. Her mother is crying. Annie has a hand mirror. She angles it up and tells Lisette everything will be fine. “They’ll be able to save it, I’m sure. They’ll still make you into a woman.”

Lisette screws up her face. Her mother says, “It looks just like you gave birth.”

Are You the Mall of America’s New Bard?

Apply now for a residency inside the US’ #1 cathedral to capitalism

Mall of America. Photo by Aine.

To celebrate its 25th anniversary, the Mall of America, perhaps our nation’s favorite capitalist monument, has announced a new writer-in-residence program. If you’re up to the challenge of capturing the mall’s evolution and essence, check out the full submission guidelines here.

The chosen “special scribe” will win:

“the chance to spend five days deeply immersed in the Mall atmosphere while writing on-the-fly impressions in their own words…stay in an attached hotel for four nights, receive a $400 gift card to buy food and drinks and collect a generous honorarium for the sweat and tears they’ll put into their prose.”

For those wondering what the nation’s largest mall requires of applicants, the guidelines explain that writers “from all writing backgrounds and levels of experience,” including poets, are encouraged to submit a 150-word pitch detailing their plan for the residency. The Mall wonders, “would it be a personal story? A blow-by-blow account of your experiences? The Mall as seen through the eyes of a first-time tourist or a regular guest?… Heck, if you can make the assignment work as a musical-comedy screenplay, by all means make it so!”

Frankly, I’m confident this competition is already as good as over. If anyone has an idea to top my analysis of the Mall’s controversial restriction of protests and Big Brother-esque surveillance while seated on a veranda awash with the scent of Wetzel’s Pretzels cinnamon sugar, shaded by billowing faux-trees, and wearing this American flag morph suit, be my guest.

Simon & Schuster Pulls Milo Yiannopoulos’ Book Deal Over Pedophilia Comments

Simon & Schuster is withdrawing Breitbart editor and white supremacist Milo Yiannopoulos’ book deal after a video that surfaced this weekend showed him trivializing pedophilia and questioning the “arbitrary and oppressive” age of consent. In December Simon & Schuster agreed to pay a $250,000 advance for the memoir, which was due out on June 13th.

The publisher’s statement, released late on Monday, said:

“After careful consideration, Simon & Schuster and its Threshold Editions imprint have cancelled publication of Dangerous by Milo Yiannopoulos.”

The book world widely condemned S&S’s initial decision to publish Yiannopoulos. Roxane Gay, who withdrew her forthcoming work, How to be Heard, from Simon & Schuster’s TED Books imprint in protest over the publisher’s relationship with Yiannopoulos, isn’t letting the latest developments change her stance. Yesterday, she wrote on her blog:

“My protest stands. Simon & Schuster should have never enabled Milo in the first place. I see what they are willing to tolerate and I stand against all of it. Also, I’ve received far better offers for How to Be Heard from other publishers.

Simon & Schuster isn’t alone in its about-face — the Conservative Political Action Conference, which is also slated to host a speech by the President, cancelled Yiannopoulos’s engagement. Editors at Breitbart are reportedly threatening to quit if Yiannopoulos isn’t fired by the alt-right media outlet.

This episode is a small triumph for those of us who felt that an author of hate speech should never have been given a book deal in the first place. But the emphasis here is on the word ‘small’ — in some ways Yiannopolous, or at least the majority of what he stands for, has been vindicated. He has denigrated others based on their race, gender, sexuality, and religion. This stance has garnered him a huge following — that’s why Simon & Schuster offered him such a huge advance in the first place. Those who support his popularity and/or book deal often cite an author’s right to free speech, a right to which they apparently hold the lone key. Drawing a line at Yiannopolos’ most recent remarks about pedophilia only highlights the fact that white supremacy — literally the enforced domination of the white male Christian race over other human beings — is still somehow considered a “worldview,” rather than a crime against humanity. So yes, Yiannopolous’ comments about pedophilia are vile, but please, check your surprise at the door.

Update, 5:32pm: Yiannopoulos has reportedly resigned from Breitbart.

The Dark Themes of Mariana Enriquez

Mariana Enriquez’ mesmerizing short story collection, Things We Lost in the Fire, is filled with vibrant depictions of her native Argentina, mostly Buenos Aires, as well as some ventures to surrounding countries. The journalist and author fills the dozen stories with compelling figures in haunting stories that evaluate inequality, violence, and corruption. Characters range from social workers to street dwellers to users of dark magic. Through them, Enriquez explores tourism in Argentina, the rich visiting the slums, plus so many more dynamic perspectives on her home country.

I interviewed Enriquez via email; I wrote to her in English and she responded in Spanish, with Jill Swanson then translating. We discussed Argentina as a country and a character, the place of politics in literature, and what inspires Enriquez when she’s working on a story.

Adam Vitcavage: This short story collection has a lot of reoccurring themes related to the horrific and the mysterious. What about these themes excite you?

Mariana Enriquez: When I was a girl, the first things I read were horror and fantasy. I like these genres for various reasons: they’re popular and entertaining, and at the same time they’re very profound. Fear is one of the most powerful and motivating emotions. You can be afraid of a monster and fear can also turn you into a monster. The themes of horror and fantasy work for me in two ways. First, people like these genres, they’re popular. It’s interesting to me that there can be a certain disdain for what’s popular, but I reject that, that’s an elitist way of thinking. Second, these genres are literary.

The tradition of horror and mystery stories fascinates me. They’re ancient, they’re the stories we told orally. Fairy tales are the ancestors of scary tales. These genres are emotive and consider sensitivity and feeling. I like dark themes, and I would say that it’s my way of looking at things.

Vitcavage: Can you pick one of the stories and explain how you came up with the idea and then how you crafted it into a short story?

Enriquez: Sure, for example, “Under the Black Water” was inspired by a true story of police violence. A few years ago in Buenos Aires, two policemen detained two poor, young men who were coming back from a night club. They physically abused them and threw them in the Riachuelo River. This river has been polluted for many years, just as I reference in my story. Currently, they’re trying to clean it up, but it will take decades. The contamination is due to the factories and slaughterhouses on the shores of the Riachuelo that dump their waste into the river, polluting it. These industries run unregulated by the State. The river is sort of a symbol of carelessness and corruption. Additionally, the river marks the geographical limit between the city of Buenos Aires and what we call Gran Buenos Aires, or the suburbs. On the river banks, there are also many slums. In the end, one of the young boys drowned in the river. I was struck by the cruelty of those police officers. It’s one thing to mistreat and scare a young man, but it’s a very different thing to throw him into that hellish river.

I used this incident, making minor modifications, as the point of departure for the rest of my story. Later on, the ideas of Evil and the dead river become an homage to Lovecraft and his unpublished works, mixed with my interpretations of Laird Barron. I also draw inspiration from Alan Moore and his idea of evil as a form of social hygiene in the context of inequality and institutionalized violence. That’s roughly the mechanism of my stories, I get my inspiration from a real life event and then I transform it into something fantastical or supernatural.

The Dirty Kid

Vitcavage: What are some of the difficulties or obstacles you encounter while writing a short story?

Enriquez: Time! I work as a journalist and it’s difficult to find the time to write. It’s also challenging to not be repetitive. I want my stories to have an air of familiarity, especially those in a collection or in a book. But I have to be careful that my personal passions and obsessions don’t take over my stories and make them all sound too similar.

Vitcavage: When you’re writing, do you primarily write for an Argentinian audience, or do you consider that your works will end up in English at some point, read by Americans as well as the rest of the world?

Enriquez: I always write for myself. That is to say — I primarily write thinking about Argentina, and in a larger context about Latin America, because we share many similar realities. The truth is that I don’t think too much about readers from any part of the world. Argentina is a theme and a character in my stories. I write for myself, thinking about my country and its reality. I don’t go beyond that.

“Argentina is a theme and a character in my stories. I write for myself, thinking about my country and its reality.”

Vitcavage: It seems, in America at least, that we can’t talk about anything without talking about politics. What is the relationship like in Argentina between politics and literature?

Enriquez: In Argentina everything is political. I’ve traveled just a bit in the United States, but I have a few friends there. I sincerely believe that they don’t have a true idea of what it is like to live in a highly politicized society. Maybe in the past few years politicization has become more pronounced there; but in Argentina, politics has always dominated public discourse. Argentinean literature, especially what’s been written within the last forty years, after the dictatorship, is profoundly political. The dictatorship killed or helped to make important Argentinean writers disappear, like Haroldo Conti, Rodolfo Walsh, and Paco Urondo. Just a while ago an English work of Antonio Di Benedetto was recovered. Benedetto was tortured by the dictator’s militia — they faked his execution and he suffered a great deal. His life and works were never the same after that.

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

Vitcavage: Since you’re a journalist as well, is there a sense of need when it comes to including political commentary within your fiction?

Enriquez: No, there’s not. I’m a cultural journalist. I live between movies, celebrities, music, and theatre. I don’t have much contact with reality in my journalism. I would say that my socio-political commentary comes more from my experience as a citizen than it does from my career as a journalist.

Vitcavage: What can readers learn about Argentina from your stories?

Enriquez: I don’t know. I don’t write pedagogically. But I think that readers can gather that Argentina is a diverse and unequal society.

Vitcavage: Who are some other Argentinian writers that readers should explore?

Enriquez: Of the authors I know who have works translated in English, there are Di Benedetto, Silvina Ocampo, Manuel Puig, Ricardo Piglia, and Julio Cortázar, who is very famous. I hope they’ve also translated works by Roberto Arlt into English, he was great. Other contemporary authors to look for are Leila Guerriero, Samanta Schweblin, Juan José Saer, Hernán Ronsino, Liliana Bodoc, Rodrigo Fresán, and Hebe Uhart. Every author is very different but they account for the wide breadth of current Argentinian literature.

Vitcavage: What are you working on next? Novel, short story collection, a long investigative non-fiction book?

Enriquez: A very long and complex novel, but I can’t tell you more than that. And I’m always writing stories, they’re like my escape. So you could say that I’m working on a novel and on another short story book.

The Writing Life in Argentina in the 1990s

The Writing Life Around the World is an ongoing series from Electric Literature. Translated from the Spanish by Philip K. Zimmerman

The host had blue eyes, very pale and inexpressive. He was famous, one of the influential and ludicrous financial journalists who dominated Argentine television in the 1990s, when the most extravagant and orthodox neoliberalism was economic dogma despite all the signs of imminent debacle. He had invited me on his program as an example of a successful and enterprising young woman. I was his propaganda. I wasn’t what he expected, and there I sat, before his amphibian eyes, disheveled and hungover. There was no Google back then; he had no way of knowing my appearance or my attitude. Let’s just say that at age twenty-one, I was not a young version of the elegant Isabel Allende. I was a disaster in jackboots, a checked shirt and a spray-painted T-shirt, a brunette Courtney Love who wanted to be Joe Strummer.

He hated me, and I hated him.

The audience was made up of teenagers from private schools, with their uniforms, silent, still and bored. My mission, I believe, was to show them that with education and individual effort one could go far. I knew it after he introduced me, when his first question was:

“What did you study in order to write a novel?”

“Nothing,” I said.

I remember his pale-eyed tadpole look. He had the slack, slightly feminine kind of neck that on some pale men begins to dangle with age. My answer was the truth. I had studied, of course, but not to write. To write I had only read literature with voracity ever since I could remember and paid special attention to my friends, my nights, our drugs, our sadness, our hysteria, our dissipation and disenchantment.

He couldn’t stand it and asked me brutally:

“Do you take drugs?”

I said no. It was a lie, of course, but I was afraid I’d be arrested. I was on television. He still wasn’t satisfied. I wasn’t wearing makeup, I had bags under my eyes and my fingernails were unkempt.

“Do your friends take drugs?”

“I don’t know,” I said, even more afraid. What if they were arrested?

Here he cut to commercial. Maybe I should mention at this point that my novel — the reason he had invited me on his program (I don’t remember the host’s name, I could look it up but it doesn’t matter, it’s better this way, he deserves to be forgotten) — was called Bajar es lo peor (The Worst Part is Coming Down) and was a gay love story peppered with drugs, wanderlust, romanticism and hallucinations, one part Interview with the Vampire and one part Less Than Zero and a third part On Heroes and Tombs, the Argentine gothic novel by the writer Ernesto Sábato. The host didn’t even say goodbye. The producers came to get me: they were very happy.

“It all went wrong,” I said.

“No, no. You threw him off. This show needs to be shaken up a bit.”

They didn’t make me feel better. Some of the kids in the audience smiled at me. Before leaving I asked for coffee. I was sleepy.

Untitled Buenos Aires bar, by Santiago Sito.

It was 1995 and I was famous. I even had my own publicity spot on the radio, announcing the release of my novel with the words “by Mariana Enriquez, Argentina’s youngest author.” Every day they interviewed me for one magazine or another; my editor took me to dinners with writers who left me speechless, not out of respect — I didn’t respect anybody because I didn’t know who anybody was and I was terribly arrogant — but out of boredom and because they were very arrogant too and all the more so with a young woman with tousled hair and military boots. I went on talk shows of all kinds. With a red-haired hostess who had assembled a panel on youth violence. With a veteran journalist morbidly interested in how much I knew about gay sex. With a despicable journalist, another cheerleader of the privatization of public enterprises and crazy neoliberalism, who asked me to sign a copy of my book. I had fans who wrote me long letters describing their sorrows, loves and excesses; they wanted to know me; they wanted me to tell them where to find Facundo and Narval, where these two lived and how to meet them, although Facundo and Narval, the protagonists of my novel, existed only in my imagination and were inspired by Iggy Pop and David Bowie, River Phoenix and Keanu Reeves in My Own Private Idaho, Lestat and Louis of Anne Rice’s Vampire Chronicles and the rock musicians I loved at the time, above all Ian Astbury and Charlie Sexton. It was fan fiction avant la lettre, with influences from Emily Brontë and Dennis Cooper.

I wrote it on a typewriter. When I started I was seventeen. I didn’t know anyone in the Argentine literary world and wasn’t friends with any writers, and none of my friends wanted to be writers — most of them didn’t even read. I lived in La Plata, the university town 35 miles from the Argentine capital. I wrote the novel by night, drinking cheap wine and smoking marijuana on the sly. I lived with my parents because I had no alternative — I couldn’t pay rent, I couldn’t pay anything. There were two types of middle-class people in Argentina in the 1990s: those who were drowning and those who were keeping afloat on a precarious raft. My family belonged to the latter species. My father was a mechanical engineer, but since there was little industry in the country, he survived on a government job that put him in charge of the few public works projects, mostly schools being constructed from scant materials. My mother was a doctor but was forever being fired from clinics and hospitals due to staff cutbacks. I attended university, which in Argentina was and still is free, and some nights I worked as a waitress in a bar called Tinto a Go Go (a play on Whisky a Go Go: in Argentina tinto, or red wine, is very cheap).

There, at a table covered in peanut shells, I told my best friend’s sister, Gabriela, a journalist, that I’d written a novel. She seemed surprised, I remember; between sips of lukewarm beer she asked to read it. Who knows what disaster she expected. A few days later I gave her the manuscript, more than two hundred typed pages marked up by hand. She took it with her. A week later she called me. She said she was going to show it to the publisher that had issued her last book, a biography of President Carlos Menem. The editors were looking for a novel on “youth” themes, written by a “youth,” and to her my book seemed ideal. I said of course, go right ahead, but I don’t remember being very excited. Nothing touched me emotionally: I was depressed, but also alert. I had to be. If you had hope in the future, it might be crushed at any moment. Better to just glide along in the vague boredom of subsistence, making sure the money held out for rent and drugs. Nothing else mattered. The government said the peso was worth the same as the dollar. This was the Law on Convertibility, also known as el uno a uno, “the one to one.” Meaning for every peso in circulation there had to be one dollar in the Central Bank. There’s no need to point out how complicated it was to maintain that equilibrium without cutting public spending to the point of asphyxiation. We lived in that fantasy. Every night we bought cocaine from a dealer who made people call him El Super, and our beer we got from a kiosk belonging to He-Man, a giant with long blond hair. Some weekends we’d go to the capital: we’d pick hangouts called Cemento (“Cement”) or Viejo Correo (“Old Post Office”). Once, in a bathroom, I saw three guys raping a girl who had either passed out or was very drunk: she had a Rolling Stones tongue tattooed on her thigh. I didn’t interfere. They might rape me too. I was terrified of getting pregnant or infected with HIV. One of my former classmates, a girl named Bernie, had bled to death in the street after they threw her out of an underground abortion clinic as soon as they realized they had perforated her uterus. Abortion was and still is illegal in Argentina. Boys weren’t any better off. Miguel, a lover of street- and nightlife who often went out with us, had an argument with the police at the precinct down the street from his house. One night they stopped him, just to scare him. They lost control and beat him to death. They ditched the body. Even now as I write this, in 2016, the body is missing. The cops, though, are in jail: there was enough evidence to convict them of murder.

“If you had hope in the future, it might be crushed at any moment. Better to just glide along in the vague boredom of subsistence, making sure the money held out for rent and drugs.”

That was how you lived in the Nineties if you were under twenty. And there were those who had it much worse than we did — we children of the impoverished middle class, public school kids with one parent still holding down a job. There were also those who had it much better. These people, the ones who appeared in glossy magazines and on television, we hated with a resentment so deep you’d think it was atavistic. We, despite our abandonment and desperation — and when I say “we” I mean my friends and I, undifferentiated at that time, a mob of sad, intoxicated kids laughing like crazy — we were privileged nonetheless.

Es un día fantástico con sol, by Ignacio Sanz.

The editor liked my novel. More or less. He told me a bunch of things about what my generation wanted “to do with literature,” things I didn’t understand because I knew no one my age who had any connection to literature. It cost him some effort to understand me, but he realized pretty quickly that he was dealing with a different kind of young writer. At that time — to generalize brutally — young writers were either rebellious literature students, young rock critics somewhere between bohemia and Greil Marcus, or ultra-cool urban girls who oscillated between the counterculture magazines and the hip newspaper columns. (There were also the poets of the Nineties, but that’s another world.) To visit my editor I’d take the Roca Line train, which was a catastrophe: it had no windows and was always stopping along the way because the engines would overheat, and at night it became the hunting grounds of drunk policemen and all kinds of degenerates. When I told my editor that I didn’t have a computer, that I’d never been able afford one (he had asked me to turn in the novel “on floppy disk”), he took swift action, calling down to accounting and negotiating an advance so that I could convert my novel to digital form. I did. The novel was released after moderate but rigorous editing. That correction process was and still is the only creative writing class I’ve taken in my life, and I believe it was extraordinary and sufficient.

The cover was striking: it showed a syringe. On the back cover one character leaned over a table, snorting cocaine. The calls from radio stations began, the advertising spots, the letters, above all the letters. Girls telling me about their first acid trip. Gay guys who’d been thrown out of their houses. Girls in love with gay guys. Girls in love with my characters. Some I answered, others I didn’t. I didn’t know what to say to them. The reviews were what today we would call “mixed,” using the English word. My publisher’s head of PR would tell me that I ought to make thank you calls even to reviewers who had torn the novel apart, and I’d tell him to fuck off. People would ask me about my next novel. I didn’t know whether I wanted to be a writer. They’d say, “But you’re the spokeswoman of a generation,” and I’d want to cry. My mother drove me to some of the interviews. She was proud of me but didn’t comment on the contents of the book. I don’t know whether Bajar es lo peor is a good novel, but it is a sad novel: the boys shoot up with wine, have nightmares, prostitute themselves, talk to dead people, and love is no good for anything. There are no adults in the book.

The months of fame — there must have been six, maybe eight — were exhausting. I’d dress for television in a faux-leather miniskirt and an AC/DC T-shirt: I thought I looked like a rocker, daring, pretty. Seeing myself seated there in the talk show chair, I couldn’t help being horrified by my white, rather chubby legs and my obvious need for better makeup and hairstyling — not to mention my stammering in response to any question whatsoever. I was a terrible interviewee. With cultural journalists I was even worse. The humiliations piled up. They’d ask me about writers I had never heard of, and I’d pretend to know who they were talking about. My answers were muddled and left me looking like a fraud.

The most enjoyable interview was with two girls my age, fans who showed up at my house in La Plata one summer afternoon. We spent six hours talking in my room, whose walls were purple, my favorite color. I remember posters of the Sandman, the Rolling Stones and Suede and a sweat-stained T-shirt exhibited as a trophy — I’d worn it to Keith Richards’ first concert in Argentina. I’m not sure of everything I said in the interview, but I do remember confessing that I wanted to have sex with Rimbaud.

Lo que te ahorras en restaurantes, by Ignacio Sanz.

That interview appeared in the newspaper Página/12. A short time later I was asked to write for the same paper. Some of the journalists there were also fiction writers: many congratulated me, others asked whether it was true that I had written the novel myself, or had Juan Forn written it for me? (Forn was my editor.) The question, accompanied by sarcastic smiles, surprised me so much that I was hardly offended, although I do remember every one of those people who insinuated my inability, their gestures, how they stood with their hands in their pockets as they did it, the incredulity in their eyes when I insisted that I had written the novel myself, by myself.

My first important story coincided with the sudden disappearance of my fame: the fans, the interviews, the invitations to television and radio programs. There remained only the negotiations to make a movie, which was made in the end and screened at festivals; it never entered the commercial circuit. I saw half of it: I couldn’t stand to watch my characters played by faces that I hadn’t dreamed. The director was a beautiful and resolute woman, but she and I fell out of contact.

It was very hot on the day when the editor-in-chief called and asked me to confirm a rumor that he thought might make for a great story. Every night on Calle Florida, the grand pedestrian shopping street in Buenos Aires, people were eating out of the garbage, generally what had been thrown away by McDonald’s and Burger King. This was 1996: the economic model was collapsing bit by bit, but things didn’t seem so bleak yet that people in the center of the city should have to eat scraps. In the barrios on the outskirts, eating out of the garbage is not something that happens constantly, but it’s not a rarity either. And in 1989, when I was a girl, the country suffered such brutal hyperinflation that in some barrios in the city of Rosario people ate cats; the television spent hours and hours showing a miniscule and badly burned cadaver. Later it was said that the only cat to be killed and eaten was that one, the one on television, and that the eaters of the cat had perhaps received money from TV producers to stage the pet ingestion. In any case, being hungry and looking for a way to satisfy one’s hunger was not all that uncommon in Argentina. It was uncommon on Calle Florida, however. The editor-in-chief told me that the important thing was the garbage-eaters’ social extraction: the middle class. Some white-collar professionals. “Get a statement from them,” he demanded.

“This was 1996: the economic model was collapsing bit by bit, but things didn’t seem so bleak yet that people in the center of the city should have to eat scraps.”

I went accompanied by a photographer. The shopping street was the same as always until the fast food places started closing, then men and women began to appear furtively, not talking to each other, silent but determined. They rooted in the garbage, looking for scarcely bitten Big Macs. How to approach them? What to do with the photographer? For a while I watched them and took covert notes: some shot me poisonous looks. I decided to approach a woman with long black hair, dark pants, cute sandals and a fresh shirt made from lightweight fabric. A well-dressed woman, pretty, with traces of makeup. Once close enough to see better, I noticed her rictus of bitterness, already degenerating into that form of paranoia you see in people who have lost everything and aren’t prepared for the catastrophe. She found it hard to talk, but finally she confessed that she was a radiology technician and hadn’t worked in a year. That she was going to lose her house. Some other things. I felt like a cop pumping information out of a woman who didn’t want to talk. I told her it was for a newspaper, I didn’t lie to her, but the interrogation still seemed to me violent, unjust, beneath this woman’s dignity. Meanwhile the photographer was taking some shots of a group searching for leftover bits of pizza. One got offended and flung something at him. Nothing too hefty, perhaps a cardboard box. That unleashed the fury, as a first gesture of resistance often does. We didn’t have to take off running, but we did walk away quickly, without looking back.

I wrote the article that night. My boss loved it. It’s been a long time since I reread it, but I know it’s well written. Yet as I wrote it I realized that this was not the journalism I wanted to do. That I couldn’t buy into the business about shedding light on the unseen or being the voice of those who can’t speak for themselves. To me it seemed that by writing about those vulnerable people I had taken advantage of them in order to draw attention to myself. And although I talked to journalist friends who thought differently, who explained the importance of the profession, its respect for others’ dignity, its social function, they failed to convince me. I didn’t have that grade of optimism. I didn’t want to be the chronicler of a lesser world.

A short while later I transferred to the culture and entertainment section, where I still work today. I asked that section’s editor to please remove me from reality and send me to cover anything else. I believe my first show was one by the Ramones — an intensely popular band in Argentina, drawing crowds of 60,000 — but it might have been Page & Plant or the Black Crowes. I don’t remember it, and my articles from that time don’t exist in digital form: they survived until recently as clippings in manila envelopes that have now been thrown away. I saw every musician who played in Argentina over a period of ten years. I discovered that the most loving and respectful fans are the heavy metal community — I was never treated better than at shows by Sepultura or Slayer. And it was ten years before I wrote and published another novel. That book is called Cómo desaparecer completamente (How to Disappear Completely), it’s realist, and the main character is an underprivileged teenager longing to escape his impoverished barrio. It sold very few copies: nobody remembered me. But I’m very fond of that book because when I finished it I knew that yes, I did want to write.


About the Author

Mariana Enriquez is a writer and editor based in Buenos Aires, where she contributes to a number of newspapers and literary journals. Her new story collection, Things We Lost in the Fire, is available in the US from Hogarth. Her story, “Spiderweb,” was recently published in The New Yorker. Issue №114 of Electric Literature’s Recommended Reading featured her story, “The Dirty Kid.”

About the Translator

Philip K. Zimmerman is a writer and a translator from Spanish and German. Born in Madrid, he was raised in Upstate New York. His work has been included in the Berlin International Literature Festival and the New York International Fringe Festival, and he recently completed a translation of Helene and Wolfgang Beltracchi’s autobiography, Selbstporträt (Self-Portrait). He lives in Munich, Germany.

Presidents in Fiction: 11 Novels That Portray Our Leaders Like Never Before

Countless pages have been written about the Presidents of the United States. In fact becoming the subject of a book seems to be one of the few things that a commander-in-chief can be sure to accomplish. With President Trump, the literary world is off to an especially quick start. Besides the protests and the think-pieces, there’s already a journal devoted to chronicling life under the new administration, and earlier this month Salman Rushdie announced that his newest novel, The Golden House, due out in September, will cover the last eight years of US politics.

This past weekend, as I watched SNL kill it yet again, I began thinking about how novelists will approach Trump, a man who is so inherently cartoonish, who treats life like reality TV. Will he be a villain, a madman, a clown? Will someone insist on looking past the orange-tinted megalomaniacal bigotry and find something…sympathetic? With Presidential novels, nothing is off-limits. So, what should we expect? A reasonable place to start the inquiry is by looking at other depictions of POTUS in fiction. So, for your (technically) holiday Monday, here’s a list of real Presidents as portrayed in fiction, from Curtis Sittenfeld’s layered look at the Bush marriage to Updike’s Buchanan.

Charlie Blackwell/George W. Bush in American Wife, by Curtis Sittenfeld

American Wife is the story of Alice Blackwell (nee Lindgren), a “polite” young woman from Wisconsin who marries a Republican scion from a well-known, wealthy political family — a man who becomes President of the United States. By the author’s own admission, Alice is a fictionalized version of Laura Bush, making her husband George W. But not all is well in the White House. Sittenfeld explores an interesting tension, when Laura/Alice is privately at odds with much of her husband’s conservative politics.

Richard Nixon in Watergate, by Thomas Mallon

Late-night thieves, amateur sleuths, phone bugs, destroyed evidence — these are all real aspects of Watergate, America’s hitherto unmatched Presidential scandal (but maybe don’t hold your breath). The actual events were pretty sensational (see: the 18 1/2 minute gap), but there is still value in a witty, novelistic take on reality. In Watergate, a finalist for the 2013 PEN/Faulkner Award, Mallon gives Nixon more nuance than many of his cartoonish fictionalized portrayals, creating a character who is, if not sympathetic, at least human under the mask.

John F. Kennedy in American Tabloid, by James Ellroy

This fast-paced crime-and-conspiracy epic winds three narratives around John F. Kennedy and his underworld connections, from his election to the Bay of Pigs to his assassination. Given the nostalgic halo that usually graces JFK, it’s refreshing to see him portrayed as a charismatic but seriously problematic man with a fondness for call girls and family ties to the Mafia.

Lincoln in Lincoln in the Bardo, by George Saunders

George Saunders’ first novel, which is currently the talk of the literary world, takes its premise from the real-life death of Abraham Lincoln’s eleven year-old son, Willie, in 1862. But from there, it’s pure Saunders, as we follow Willie into the ‘Bardo’ — the Tibetan word for purgatory. Willie meets and mingles with ghosts, ultimately partaking in a struggle for his soul.

George Saunders Likes a Challenge

Warren G. Harding in Carter Beats the Devil, by Glen David Gold

Warren G. Harding isn’t the first President you’d think of to star in a suspense novel (or any novel for that matter) but he is indeed the lynchpin to this inventive plot. Inspired by true American stage magician Charles Joseph Carter (1874–1936), the novel opens when Carter invites President Harding on stage at a magic show. Hours after Carter successfully cuts the President to pieces and reassembles him as a magic trick, Harding dies, and Carter becomes a prime suspect. (ed. note — now that’s a book cover)

Thomas Jefferson Dreams of Sally Hemings, by Stephen O’Connor

What really went on between the third President of the United States and Sally Hemings, the woman who was at once his slave, lover, and mother to his children? Stephen O’Conner imagines a possible version in which the 16 year-old Hemings finds herself “somewhere along the spectrum between love and Stockholm syndrome,” both entrapped and enticed by her forty-six year old master.

Richard Nixon in Jailbird, by Kurt Vonnegut

Did you know Vonnegut wrote a Watergate novel? Well, now you do. His take imagines the hapless Walter F. Starbuck, the son of a chauffeur and a general misfit who bumbles along, letting life happen to him, until Nixon makes him his advisor on “youth affairs.” Starbuck gets unwittingly tangled up in the Watergate scandal and sent to jail. Vonnegut’s Nixon is a bit of a caricature who interrogates anyone who doesn’t show enough gratitude for America! and capitalism!

John F. Kennedy in 11/22/63, by Stephen King

11/22/63 brings together two ideas that have spawned reams of fantasy writing: time travel and JFK’s assassination. Jake Epping is a divorced high school English teacher in Maine who stumbles upon a portal to the past — specifically September 9, 1958, at 11:58 a.m. Epping uses the portal to try to prevent JFK’s assassination, an event he thinks triggered chaos in America.

James Madison in Dolley, by Rita Mae Brown

Written by the author of The Rubyfruit Jungle, this novel-as-diary explores the life of Dolley, wife to President James Madison. Although Brown focuses on the more frivolous side of the Presidency (presumably Dolley’s main purview, aside from saving paintings from fires), political infighting and the War of 1812 hang like a shadow over even the most lavish dinner party.

Bill Clinton/Jack Stanton in Primary Colors, by Joe Klein/Anonymous

First published by “Anonymous,” Primary Colors caused a stir with its thinly veiled portrayal of the 1992 Democratic Presidential Primary. The journalist Joe Klein eventually admitted he was the author — after a slew of accusations, a sworn oath, and a handwriting analysis that was done on notes from the original manuscript. That people went through such trouble to find the true identity of the anonymous author doesn’t feel that shocking after the unmasking of Elena Ferrante, but, at the time, the novel’s portrayal of Southern governor Jack Stanton, i.e. Bill Clinton, as a lecherous, deceitful politician was pretty spicy.

James Buchanan in Memories of the Ford Administration, by John Updike

Despite its title, Updike’s 15th novel features an obsession not with Gerald Ford but with the 15th President of the United States, James Buchanan. The novel’s protagonist, Alfred Clayton, idealizes the man and is toiling away on an endless biography that he hopes will change the minds of the ninety-nine percent of historians who agree that Buchanan was a crappy President and at least partially to blame for the Civil War.

34 Books by Women of Color to Read This Year

This list began with a mistake. I’d started collecting the titles of intriguing 2017 books: to read them, of course, but also because I hoped to review more prose in 2017. I soon noticed, though, that the writers I’d assembled in my private most-anticipated roll call bore an alarming resemblance in one respect to lists everywhere, not just the book-related kind (cf. editorial slates, boards of directors, tables of contents): the men outnumbered the women.

So, I tried to right the balance; before long, I did. Good! But then, looking again at the expanded list, I realized that most of the women writers I’d added were white. I love white women’s books, and I love books by men, but I wanted to read women of color, too. I consulted others’ lists. I trawled through publishers’ catalogs. What I discovered was that if I excluded books by friends, as well as titles my agent and/or novel editor had worked on, there wasn’t much else I could find. I didn’t have this problem with male writers of color, and I didn’t have this problem with white women. I wasn’t hunting for unicorns.

This was during the winter holidays: I was in a cabin, laid up because I’d sprained my ankle. With the unexpected glut of free time, I took to social media, asking what 2017 books others were looking forward to reading. I emailed friends; I pulled up more catalogs. In the end, I’d compiled a more robust lineup. It then occurred to me that other readers and reviewers who also care about diversity in books might like having such a list.

(If you don’t care: oh, where to start. A xenophobic, misogynistic fascist is president; hate is ascendant; and it’s easiest to forget the shared humanity of people whose lives we haven’t tried imagining. Studies show, for instance, decreased homophobia among Americans who have so much as watched a bit of Will & Grace. Inclusion has real consequences, and if you’re looking for the perfect gift to buy your Republican uncle or your racist cousin, here’s a shopping list.)

These are 34 anglophone prose books of 2017 I’m very excited to read that happen to be written by women of color: maybe not unicorns, but also not nearly as easy to find as they should be. I intend to be “greedy and indulgent,” as Jenny Zhang beautifully puts it, in reading these writers — join me?

JANUARY

Fever Dream by Samanta Schweblin

Samanta Schweblin, one of Granta’s Best Young Spanish-language Novelists, wrote this book entirely in dialogue, as a conversation between a dying woman and her friend’s son. It’s an inventive literary thriller powered by two mothers’ great love for their children, as well as the terrible fears that come with love.

Human Acts by Han Kang

Han Kang’s Booker Prize International-winning The Vegetarian, depicting a woman’s ferocious struggle with her family, was one of the most celebrated, and unnerving, books of 2016. Her new novel, which takes place in 1980 during the Gwangju Uprising in South Korea, is no less unsettling. During the ten-day protests, the military killed hundreds of unarmed students and civilians: Human Acts bears fictional witness to these dead, and to the travails of those who survived.

Lucky Boy by Shanthi Sekaran

The fates of a rich, infertile Indian American couple, Kavya and Rishi, become tangled with the life of Soli, an undocumented, 18-year-old housekeeper from Mexico, when Soli’s baby is taken from her and placed in foster care. To Soli, the baby’s Ignacio; to Kavya and Rishi, he’s Iggy; to all three, he’s beloved. Heartbreak is inevitable, and Shanthi Sekaran’s novel compassionately explores the varieties thereof.

Savage Theories by Pola Oloixarac

Savage Theories was a small-press bestseller when it appeared in Argentina; years later, it’s finally out in the U.S., translated by Roy Kesey. It tells the stories of Buenos Aires academics, former guerrillas, and gamers. Hari Kunzru calls it “a stunning vibrant maximalist whirlwind of a novel.”

FEBRUARY

A Separation by Katie Kitamura

Katie Kitamura’s writing has captivated me for years, starting with her taut debut novel, The Longshot, about mixed-martial-arts fighters. A bookseller whose taste I love, Stephen Sparks of Point Reyes Books, read a galley of A Separation and said that Kitamura is America’s answer to Javier Marías; I’ve been waiting for her new novel ever since. In A Separation, a translator travels to a Greek fishing village to find her adulterous husband: I’m impatient to follow her there.

Tell Me Everything You Don’t Remember by Christine Hyung-Oak Lee

Christine Hyung-Oak Lee is another writer I’ve been reading for years, via short pieces in Buzzfeed, The Rumpus, and elsewhere. Tell Me Everything You Don’t Remember is a memoir about the stroke Lee endured when she was 33. It left her with no short-term memory, for months, and she wrote daily in her notebook to preserve a time she couldn’t otherwise recall. Those entries inform this book, Lee’s first.

Pachinko by Min Jin Lee

Min Jin Lee had the initial idea for what would become Pachinko in 1989: in college, she attended a talk by an American missionary who worked with ethnic Koreans in Japan, historically a marginalized group. She began writing fiction about Korean Japanese in 1996; then, when she lived in Tokyo for four years in 2007, she restarted her novel-in-progress. Almost 30 years in the making, Pachinko is a testament to Lee’s determination to give voice to lives that have been, as she’s said in an interview, “denied, erased, and despised.” Junot Díaz says that Pachinko “confirms Lee’s place among our finest novelists.”

Harmless Like You by Rowan Hisayo Buchanan

I first read Rowan Hisayo Buchanan’s fiction in Granta, a short piece featuring a ghost couple stuck for eternity on the grounds of the beach resort where they died. It’s a moving, weird, funny story that has stayed with me; her debut novel, about a Japanese American artist who’s abandoned her son, promises to be just as memorable.

Tell Me How It Ends by Valeria Luiselli

Tell Me How It Ends is an essay structured around the 40 questions Valeria Luiselli translates and asks in New York City immigration courts, where she volunteers on behalf of undocumented Latin American children facing deportation. “I felt this book in the tug behind my eyes, in these hands shaking, in this heart beating too quickly. This is a book I will share with everyone I know. This is something every American needs to face, and to feel,” says Kenneth Coble of King’s Books.

Swallow the Fish by Gabrielle Civil

Swallow the Fish is described as a memoir in performance art that combines “essays, anecdotes, and meditations with original performance texts.” Not quite sure what this means? Me, neither, but I’m all for difficult-to-summarize hybrid books, and my curiosity’s piqued.

MARCH

Sorry to Disrupt the Peace by Patty Yumi Cottrell

I was introduced to Patty Yumi Cottrell’s fiction in BOMB; since then, I’ve been on the alert for more. Cottrell’s first novel is narrated by a woman in her 30s whose adoptive brother has killed himself: she flies home, to her adoptive parents, to try to understand what happened. Jesse Ball says Sorry to Disrupt the Peace “is not a diversion — it’s a lifeline.”

The Best We Could Do by Thi Bui

This graphic memoir about an immigrant family from Vietnam comes praised by Viet Thanh Nguyen as “a book to break your heart and heal it.” In the days after the unconscionable Muslim immigration ban, I find I’m especially drawn to books, like Bui’s, about the stark challenges faced by refugees and other migrants. The family portrayed in The Best We Could Do escapes the fall of South Vietnam in the 1970s, and the story that results is by turns comic and tragic.

APRIL

What It Means When a Man Falls From the Sky by Lesley Nneka Arimah

Lesley Nneka Arimah, a Caine Prize finalist, has been publishing odd, wondrously imagined stories in The New Yorker, Catapult, and other publications, and it’s a delight to see her writing will soon be out in book form. What It Means When a Man Falls from the Sky, which features supernatural phenomena such as children made out of human hair, is heralded by Laura van den Berg as one of the best collections she’s read in years.

Too Much and Not the Mood by Durga Chew-Bose

For those of us who have been reading Durga Chew-Boses’s intelligent essays about identity, solitude, art, and culture for years, Too Much and Not the Mood has been long awaited. This collection of essays, letters, and what’s been termed “essay-meets-prose poetry” is inspired by Virginia Woolf’s diaries and Maggie Nelson’s Bluets: yes, please.

No One is Coming to Save Us by Stephanie Powell Watts

Stephanie Powell Watt’s debut novel follows a man returning home to North Carolina to pursue his high school sweetheart. Watts has described No One is Coming to Save Us as “The Great Gatsby set in rural North Carolina, nine decades later, with desperate black people”; Edward P. Jones says it’s “full of characters who come into a reader’s mind and heart and never leave.”

MAY

A Good Country by Laleh Khadivi

I heard Laleh Khadivi read from A Good Country last fall, and thought then it was a novel our country needs; how much more so now, as we contend with every last bit of recent political news. Khadivi’s third novel is about the radicalization of an American who’s never quite felt at home.

A Small Revolution by Jimin Han

A Small Revolution gets inside the head of Lloyd Kang, a fictional Pennsylvanian gunman who holds college students hostage in a dorm room. Julie Iromuanya extols it as a gripping book that “explores the volatile space between love and loss, desperation and deed.”

Radical Hope edited by Carolina De Robertis

With contributions from writers, activists, and thinkers such as Viet Thanh Nguyen, Junot Díaz, Patrisse Cullors, Opal Tometi, and Alicia Garza, the novelist Carolina De Robertis has assembled a collection of letters that will, she hopes, provide “messages of love and thoughts for how to continue to burn brightly and continue to work for a better world in these times.” She conceived of Radical Hope three days after the 2016 elections, and would like the book to be “an antidote to despair” because “despair paralyzes us, and we need to not be paralyzed right now.” I think I’m going to want to read this Baldwin-inspired collection yesterday, now, and through the conceivable future.

The Leavers by Lisa Ko

This novel by a founding editor of Hyphen is about an undocumented Chinese immigrant who disappears, and the child she leaves behind. The Leavers is the recipient of the 2016 PEN/Bellwether Prize awarded by Barbara Kingsolver for fiction that is socially engaged.

Miss Burma by Charmaine Craig

Charmaine Craig, daughter of a woman who led an insurgent army brigade in Burma, has written a novel based on the experiences of her mother and grandparents. Laila Lalami calls it “a brilliant book,” “told from the perspective of people whose voices have been systematically erased from the official record.”

Chemistry by Weike Wang

A longstanding complaint I’ve had with so-called literary fiction is that it too rarely invents mathematicians, or scientists, perhaps because most writers know little about either field. (Delightful exceptions: Catherine Chung’s A Forgotten Country, Yoko Ogawa’s The Housekeeper and the Professor, Jeanette Winterson’s Gut Symmetries.) Weike Wang’s Chemistry looks like a worthy addition to the line-up, with a science-infused story that Peter Ho Davies applauds as “a revelation — by turns deadpan and despairing, wry and wrenching, but always and precisely true.”

JUNE

Goodbye, Vitamin by Rachel Khong

I’ve admired Rachel Khong’s writing since I came across her splendid food-exploring articles in Lucky Peach. Her debut novel is about a woman whose father has Alzheimer’s disease; Lauren Groff says that “Khong is a magician,” and “we are lucky to fall under her spell at the beginning of her brilliant writing life.” I couldn’t agree more.

Hunger by Roxane Gay

I imagine Roxane Gay needs no introduction, but I’m especially excited to read her memoir, Hunger, about her body, food, and desire. The first, beguiling line: “This is not a book about triumph.”

JULY

The Art of Death by Edwidge Danticat

Graywolf’s “The Art of” series has been a treasure, with incisive books on writing and criticism by Charles Baxter, Christopher Castellani, Stacey D’Erasmo, Ellen Bryant Voigt, and others. This latest addition by Edwidge Danticat is a meditation on death, and draws from Toni Morrison, Gabriel García Márquez, and the mother Danticat lost.

Refuge by Dina Nayeri

Alice Elliott Dark says she’ll keep Refuge in her “bookshelf of favorites,” and Charles Baxter calls it “essential reading.” Dina Nayeri’s newest book follows twenty years of the life of an Iranian girl separated from her father when she flees to America.

The Tower of the Antilles by Achy Obejas

Achy Obejas’s collection is about fictional Cuban migrants who never quite escape the land they’ve left. Alexander Chee on Obejas: “Obejas is a master of the human, able to conjure her characters’ heartbeats right under your fingertips, their breaths in your ears.”

AUGUST

The Sour Heart by Jenny Zhang

I get very jazzed anytime there’s something new to read by Jenny Zhang, who’s been, until now, a poet and gloriously fierce essayist. Now there’s a story collection on its way, and I find myself wondering if there’s anything the woman can’t write. The Sour Heart is the first book to be published by Lena Dunham’s and Jenni Konner’s new Lenny imprint at Random House, and portrays Chinese American girls growing up in New York City.

Home Fire by Kamila Shamsie

The third novel from one of Granta’s Best Young British Novelists, Home Fire is about divided families and jihadis’ legacies. “A good novelist blurs the imaginary line between us and them; Kamila Shamsie is the rare writer who makes one forget there was ever such a thing as a line,” says Rabih Alameddine.

New People by Danzy Senna

“More scorcher than satire, New People loads identity, race, despair, and desire into a blender then hits high. Get ready to stay up late, to be propelled, pricked, and haunted,” says Maggie Nelson. Danzy Senna’s previous novels, Caucasia and Symptomatic, were a joy, and New People is about a woman who might have everything, but wants more.

SEPTEMBER

Sing, Unburied, Sing by Jesmyn Ward

Jesmyn Ward’s third novel is here at last, and it’s billed as an epic that draws from Morrison, Faulkner, The Odyssey, and the Old Testament. She received the National Book Award for her last novel, Salvage the Bones, and edited The Fire This Time, a powerful collection of essays and poems about being black in America. Her writing is consistently generous and wise; thank goodness we’ll have new words from her soon.

Little Fires Everywhere by Celeste Ng

I initially heard Celeste Ng’s fiction years ago at the Bread Loaf Writers’ Conference; years later, when her first novel was published, I rushed to buy it. Many readers have since shared my enthusiasm, and I’m eager to get my hands on Ng’s follow-up, Little Fires Everywhere, about a family in Shaker Heights, Ohio.

OCTOBER & LATER

Her Body and Other Parties by Carmen Maria Machado

Carmen Maria Machado’s debut collection of stories is drawing comparisons to Karen Russell and Kelly Link, and includes tales of a plague, ghosts, girls with bells for eyes, and other wonders. I’ve relished Machado’s ingenious writing a long while.

A Brief Alphabet of Torture by Vi Khi Nao

Vi Khi Nao’s Fish in Exile is the first novel I read after the 2016 elections, and I was grateful to have, as company, Nao’s strange, elliptical account of a grieving couple. A characteristically evocative line: “I watch her heels lift emptiness from the ground.” A Brief Alphabet of Torture is a story collection, the winner of FC2’s Sukenick Innovative Fiction Contest.

Litany for the Long Moment by Mary-Kim Arnold

In Litany for the Long Moment, Mary-Kim Arnold winds together such disparate elements as linguistics, Francesca Woodman, Theresa Hak Kyung Cha, Ronald Barthes, a visit to Korea, and her own adoption records. What results is a tripartite book of essays and a long poem, by turns a meditation, a travelogue, and an examination.