George R.R. Martin Pays Tribute to Carrie Fisher and Richard Adams

The worlds of Game of Thrones, Watership Down & Star Wars are united in grief, while the fantasy master wishes 2016 away.

It’s often said that nothing brings a community together quite like tragedy, and the old adage holds true for writers. 2016 has been fraught with the loss of artists of all stripes, beginning with the death of the enigmatic literary legend, Harper Lee in February. Shortly after, Alan Rickman, the half-blood prince of the Harry Potter franchise, lost his battle with pancreatic cancer. Now, in the final week of what has popularly been deemed the worst year in recent memory, the world is collectively mourning the latest creative casualty, beloved Star Wars princess, Carrie Fisher.

George R.R. Martin, a titan in the realm of fantasy authors, took to his blog to express his heartfelt grief:

There is not much I can say about the death of Carrie Fisher that a thousand other people have not said already. She was way too young. A bright, beautiful, talented actress, and a strong, witty, outspoken woman. Princess Leia will live as long as STAR WARS does… probably forever…

Along with her extraordinary talent for acting, Fisher will also be remembered for her touch with the written word. Throughout her career she penned several scripts, along with five novels, and three memoirs.

In his post, Martin likewise lamented the recent loss of another literary great, Richard Adams. The author of the classic adventure novel, Watership Down, passed away at 96. Martin wrote:

Adams was not ‘one of us,’ in the sense that he was never a convention-goer or part of our genre fantasy community, which may be why he was never honored with a life achievement award by the World Fantasy Convention. Nonetheless, he deserved one.

He regrets that now he will never have an opportunity to meet Adams, whom he admired greatly.

While we wish it were under happier circumstances, it is moving to see the unification of the fantasy worlds of Game of Thrones, Star Wars, and Watership Down in Martin’s blurb. No matter what 2017 may bring, writers will have to continue to stick together and fight against the power.

These Words Will Haunt You

László Krasznahorkai writes the kinds of books you need to be in the mood to read. Once labeled the “Hungarian master of the apocalypse” by Susan Sontag, the title has stuck as a kind of badge of honor, reprinted on cover after cover of the English translations of his novels. For the uninitiated, a “Krasznahorkai book” is almost universally choked with despair and poverty and alcohol and grime, from his magnum opus Satantango to his 2015 Man Booker International Prize-winner, War and War.

By comparison, Krasznahorkai’s newest releases in English, The Last Wolf (translated by George Szirtes) and Herman (translated by John Batki), are basically binge-reads, both not even clocking 100 pages in length. Even the label “novella,” as publisher New Directions is calling them, feels like a misnomer — in length, The Last Wolf and Herman could have practically fit in as vignettes in Krasznahorkai’s Seibo There Below. But readers sighing in relief over the publication of the first “digestible” Krasznahorkais ought to be forewarned: both books are a journey, yet neither is a walk in the park.

The Last Wolf is just one sentence long, but it is a mammoth, labyrinthine sentence, encompassing both the breathless monologue of a once-famous author and the interjected actions and questions of the bartender, to whom the narrator is relaying his adventure. The whole ordeal began quite mistakenly, the author explains, when he received an invitation to Extremadura, Spain, from a mysterious and nameless foundation, which insisted he memorialize their lifeless Eden in writing. “…He knew that the whole place, Extremadura, was outside of the world,” Krasznahorkai writes, “because extre means outside, out of, you get it?”

If you do, it might be the last clear signpost you get. In this “mercilessly barren, flat place,” the author finally decides to write about the last wolf to be killed in Extremadura, although it is a task easier said than done:

“…it was south of the River Duero in 1983 that the last wolf had perished” and it might have been the unusual tone of the sentence that stuck in his memory, since scientists didn’t tend to write quite so poetically in articles of this sort, did they? didn’t tend to talk in terms like “the last wolf…”

What is a “last wolf, “anyway? As a game warden explains, the lobos actually died one by one, with the penultimate — a pregnant female — being smashed by a car, as she was too heavy with pups to run across the road.

While the image has an almost Biblical weight — “…he could remember it clearly, could see that young she-wolf as clear as if it were yesterday, her guts spilled, her crushed belly with the dead cub inside it…” — The Last Wolf is maddeningly indecipherable, with even its conclusion a dangling, unfinished mystery. “What is most disquieting and, in a way, most melancholy, is that the wolf is not a symbol for anything,” Chrstine Smallwood writes for Harper’s. Instead, the story is finger-trap for the analytic mind, a sort of maze with no way out: You end up chasing your own tail looking for meaning, around and around, right up until the final, and only, period.

Herman is thematically The Last Wolf’s twin, although the novella itself is a pair of stories — “The Game Warden” and “The Death of a Craft.” Both halves concern the hunter, Herman, who sets off into the woods to destroy the park’s last “noxious beasts,” only to seemingly go mad, turning his traps on the people he’d promised to protect:

“The first sporadic cases of broken legs did not cause the hospital to notify the proper authorities, until in early February law enforcement got wind of rumors being retailed far and wide about the nocturnal depredations of a maniac at large among the residences of peaceful citizens, or possibly it was some kids to young to realize the gravity of their acts. The investigation soon established that the culprit or culprits were using standard, if extremely dangerous steel-jawed traps, placed in front of the homes of unwary people with the most perverse cunning and inexhaustible inventiveness, superbly camouflaged so that a person leaving the house in the morning was bound to step in it.”

In the first version of the tale, Herman ultimately becomes the quarry of the townspeople; in the second, amorous aristocrats set aside their canoodling to search for the fabled madman-hunter, only for Herman to vanish without a trace. It is an unsettling pairing of accounts, as the two don’t quite match up in detail, and once again leave the reader searching for hidden meaning where perhaps there is none.

The Last Wolf and Herman take no time at all to read. But each novella is like the literary equivalent of a Rubik’s cube: unintimidating when held in the hand, and yet somehow impossible to get straight once you start trying. Don’t underestimate the pair; they might look flimsy enough to finish during a long commute but they’ll haunt you — or perhaps hunt you — long after the final full-stop has been left behind.

The 10 Most Popular Electric Literature Articles of 2016

As 2016 winds down, here’s a look back at our 10 most popular articles of the year. Give them a read if you missed them the first time around.

1. 10 Fictional Mothers Who Will Make You Thank God for Yours

Carrie Mullins looks at books about horrible mothers, from Jane Austen to Stephen King.

10 Fictional Mothers Who Will Make You Thank God for Yours

2. Everything You Wanted to Know about Book Sales (But Were Afraid to Ask)

Electric Literature editor-in-chief Lincoln Michel breaks down the hows, whats, and whys of book selling, and challenges some myths about book selling with hard data.

Everything You Wanted to Know about Book Sales (But Were Afraid to Ask)

3. 12 Things I Noticed While Reading Every Short Story Published in 2014–15

Electric Literature contributing editor Kelly Luce explains what she learned reading for the O. Henry Prize anthology, and decides that “For a form whose death is continually prophesied, the story is doing pretty damn well.”

12 Things I Noticed While Reading Every Short Story Published in 2014–15

4. In Search of the Novel’s First Sentence: A Secret History

Andrew Heisel looks at the history of the first sentence, and how our expectations of a story’s start have changed over time.

In Search of the Novel’s First Sentence: A Secret History

5. An Illustrated Guide to Writing Scenes and Stories

Best-selling author Jeff VanderMeer provides an in-depth (and illustrated!) guide to using scenes in fiction.

An Illustrated Guide to Writing Scenes and Stories

6. Let’s Get to Work: Practical Ways for Writers and Teachers to Get Involved Right Now

In the wake of the 2016 election, Electric Literature contributing editor Anu Jindal looks at resources and organizations that writers can get involved with to help make the world a better place.

Let’s Get to Work: Practical Ways for Writers and Teachers to Get Involved Right Now

7. Let Us Now Praise Famous Short Story Writers (And Demand They Write a Novel)

Short story author Amber Sparks talks about the importance of stories, and wishes that not every fiction writer was expected to write novels.

Let Us Now Praise Famous Short Story Writers (And Demand They Write a Novel)

8. Writer Horoscopes for February 2016: Metaphor in Retrograde

The great seer Apostrodamus tells your literary fortune in these writer horoscopes.

Writer Horoscopes for February 2016: Metaphor in Retrograde

9. The Best Possible Outcome if Trump Wins the Election

This election day comic from Emma Hunsinger sadly hasn’t come to pass yet.

The Best Possible Outcome if Trump Wins the Election

10. Keep Culture Weird: 10 Eerie & Monstrous Books for Fans of Netflix’s Stranger Things

If you loved the weird science fiction of 80’s nostalgia show Stranger Things, you’ll love these book recommendations from JW McCormack.

Keep Culture Weird: 10 Eerie & Monstrous Books for Fans of Netflix’s Stranger Things

The State of Flash Fiction

A man missing an arm and part of his jaw knocks on the door. He smells like a brewery and claims he’s a family relation. That’s how the story “Related” begins. It’s under 500 words. Or consider “Oriole,” which opens, “My father’s hands fit around my throat” and lays bare what’s going on at home in under 1,000 words. These stories feature hookups and breakups, substance abuse, and violence so casual it’s as natural as jagged breathing.

This is the work of Len Kuntz, sui generis even in the gonzo world of flash fiction, and he’s published a lot of stories to prove it. When David Galef, a fiction writer and critic, set out to write Brevity: A Flash Fiction Handbook (Columbia University Press), this was the kind of material he was searching for: visceral as a gut-punch but with a real narrative to pursue, a turn in someone’s life encapsulated in a couple of pages. Flash fiction is ubiquitous these days, but it can still turn up something new, like a small miracle. We recently asked Kuntz and Galef to chat about the world and the art of flash fiction: where the form stands, where it’s headed, whether brevity can be pushed further, and which were their favorite one-line stories of the year.

David Galef: Flash fiction is all over the place, from classrooms to the web, in contests and in anthologies. You’ve published a slew of work in this genre. Got an opinion on what’s new in the field?

Len Kuntz: There are certainly new zines popping up every week and just as many going defunct. Micro fiction, as well as Twitter fiction, was a recent development, but they’ve been around for some time now. What’s new are the emerging writers, the fresh voices, and there’s a plethora of them online.

Galef: I agree. I don’t see any way to push the vanishing point beyond 140 characters, two- or one-sentence pieces, and that sort of thing. But I do wonder about hybrid forms, combining text and image or — well, we should really insert a YouTube video link here. How would you describe the kind of flash fiction you write, and how has your work evolved?

Kuntz: When I started out, I had no idea what I was doing. Most of the things I was reading with regard to flash were quite odd, bordering on bizarro fiction, or else they were pretty experimental, where the narrative came in second to the language. I tried mimicking that, with a little success, but really when I caught my stride was when I learned how to wind a tight plot point into the piece. In almost all of my writing, someone is in trouble, or else they’re wounded or will soon be wounded. One of the guys in my writing group says I torture my characters better than anyone he knows. I suppose that’s true. If you can get the reader to care about the character, then the reader really becomes invested in what happens to the character when things go wrong, when they struggle. I guess I’ve evolved to where I no longer apologize for writing things with a dark bent. I go for the emotional tug. My readers might not be smiling when they’re done with a piece of mine, but hopefully they come away having their heart shook, if even just a little.

Galef: I like a sum-up of your work I read recently about how no one does damaged-kid stories as well as you. I don’t mean to be reductive, but it’s something you do really well in an amazingly small space. I see it in The Dark Sunshine and also in I’m Not Supposed to Be Here and Neither Are You. That’s one main reason I included you in Brevity: A Flash Fiction Handbook.

Kuntz: Thank you for the kind words about my writing. It’s true that I mostly write about damaged people. But I’ve come to say that I write about people wrestling with their problems. It’s vague enough yet interesting enough that people remain somewhat interested. And I’m happy to be in that handbook.

Galef: Of course, the handbook is an attempt to cram as many different ways of looking at flash fiction as possible into a fairly slim volume. So I’m curious as to your thoughts on the limits of the form. What can’t you do in flash fiction?

Kuntz: Obviously length is a limit, but other than that, I don’t think there are any rules per se. As a fiction editor at Literary Orphans, I get a lot of submissions that lack complexity, that don’t tell a story. Many people think all that’s required of flash fiction is that it be short. But it can’t just be a description of something or a sketch. What I look for is rich language or a fresh voice. And I want to feel a connection to the story and characters. The writing needs to evoke some kind of emotion, and that can be anything — grief, shock, humor. At the end of the piece, I want to have a sense of “Wow.”

Galef: But sometimes that comes from a sheer lyric burst. Is there anything about flash fiction that frustrates you? What would you like to see done differently, or more frequently with the form?

Kuntz: Personally, I’d like to see more mystery in a lot of the pieces I see. By mystery, I mean endings that aren’t always tidy and obvious. When it’s done intentionally by the author, I think it’s wonderful to have several different readers come to opposite conclusions. Much of Bob Dylan’s catalog does this. I have long, drawn out conversations about Tangled Up in Blue, Visions of Johanna, and many others. Each of us debating the true meanings of those songs is adamant that their version is correct. If nothing else, this sort of nebulous work reinvigorates passions about it.

Galef: But one incontrovertible aspect of Dylan’s lyrics is that they tell us stories. I feel as you do about some of what’s out there: there should be some kind of narrative drive, or else why call it flash fiction? And I also like verbal verve, and I’m therefore a bit nonplused when I read a piece that’s wasteful with language. Ezra Pound once looked at one of Louis Zukofsky’s poems and said something like “I see you’ve used 64 words when you could get by with 49.” But a lot of the old page limits have sort of disappeared with the web. Tell me, how has the internet changed flash fiction?

Kuntz: Certainly the internet has hastened the popularity of flash. There are literally hundreds of online magazines that cater to the form. Many only publish flash. So it’s created this incredible universe where there’s always fiction to read at the click of a mouse. On the flip side, it’s opened up the publishing stream for writers looking to place their work. One other added dimension is the ability to learn from other writers and also to see where they are being published.

Galef: I see a lot more communication and commerce among readers and writers, what some sites call user-provided content. That’s fine as long as it doesn’t get too incestuous. And I do mourn the passing of the old general reader, who had no artistic aspirations and simply loved to read.

Kuntz: It’s interesting you bring up the word incestuous. Cliques definitely exist in the writing world, in publishing, etc. There are boys’ and girls’ clubs that, while they don’t overtly say it, nevertheless make it clear that admission is only meant for a certain type of person they favor, and most times I don’t think it’s about the art that person produces. And it can get incestuous, because we’re all in the same ocean, maybe on different boats, but we run up against each other. For instance, I’m and editor and writer, so invariably I’ll submit to a house where I know the editor. The reverse happens, as well. It’s difficult to reject a friend, but I still do it if I don’t think the work matches our aesthetic or if it’s not good work. I hope they do the same for me, and for the most part, I do think that’s been the case.

Galef: With all those boats bumping about on the ocean, as you note, how does anyone get anywhere. In fact, what’s the future of the form? Saturation?

Kuntz: I don’t know if flash has peaked, but it sure proliferated just as the internet was becoming a vessel that everyone used. Short attention spans helped flash, as well. It’s also difficult to stick with a longish story — say 4,000 words — when you’re reading it onscreen. But to the point of saturation, I don’t think so. In my opinion, flash is here to stay in the same way that hip hop is. It might evolve, but it’s not going anywhere. My only worry is about the quality of the work. I see a lot of average or less-than-average work being published. That’s subjective, obviously, yet a great piece is unquestionably good, and sometimes I wonder if publishers aren’t just trying to scrounge up enough stories to fill an issue. Knowing many publishers, I can tell you this happens far more than it should, and so there’s a settling that occurs. The bar gets lowered, and if that continues to happen on a grander scale, the reader might eventually be turned off. If there’s a saturation having to do with the form, I’d say it has to do with the amount of magazines and zines there are without any distinct aesthetic. It’s like having 40 car rental places to choose from that are all essentially the same. Or, like in my small town of Snohomish, WA, where we have over 30 banks that all provide the same service: why do we need 30 banks that — other than their logo — are indistinguishable?

Galef: Not much to do about proliferation going hand in hand with lowered standards. It happens in making widgets, and it happens in making stories. More breeds more, and “they can’t all be gems,” as they used to say. But we can hope for some classy sites that — what’s the verb nowadays? — curate well. A lot depends on the iron whim of the editor. And since you’re in the business of continually selecting what other people will eventually read, who are some of your favorite flash fiction authors, and why?

Kuntz: This is always a difficult question to answer because I must have well over a hundred. But there’s a book that came out from Unknown Press called RIFT, which is a masterwork in the area of flash. It’s by Robert Vaughan and Kathy Fish. Throughout the book, they have alternating pieces, and each one is riveting in its own way. We get all the best things flash has to offer: lush language, pathos, quirk, surprises, wonderful phrasing, unique characters, spot-on dialogue, and so much more. I defy anyone to read this book and not be blown away. Even for the novice just breaking into the craft, RIFT is tool box and a manual for how to write flash that sings.

Galef: I’ll have to check it out. One of my favorite collections is still the original volume of Sudden Fiction that came out in 1986, edited by Robert Shapard and James Thomas, billed as “American Short-Short Stories.” It’s got Grace Paley, Barry Hannah, Donald Barthelme, John Cheever, Roy Blount, Jr., John Updike, Langston Hughes, Tobias Wolff, T. C. Boyle, Bernard Malamud, Jayne Anne Phillips, Lydia Davis, George Garrett, Joyce Carol Oates, Tennessee Williams . . . and I could go on.

Kuntz: I have Sudden Fiction on the shelf right behind me. It was one of the first books I bought when I started learning about flash and just writing in general. It’s a wonderful book, as is The Rose Metal Press Field Guide to Writing Flash Fiction. There are so many others that don’t necessarily have to do with flash but are still so inspirational and educational for aspiring writers: Bird By Bird — Anne Lamott; Writing Down The Bones — Natalie Goldberg; That Triggering Town — Richard Hugo. When I first starting studying the craft, I probably read and marked up close to 100 books about writing. It was invaluable. I highly recommend that to anyone starting out, or really, anyone who considers themself a writer. I still go back to many of the volumes, and invariably I find new nuggets here and there.

Galef: There certainly are a lot of books on writing fiction out there, and in flash fiction, a growing number of anthologies.

Kuntz: But here’s an issue: If flash fiction has gained so much popularity, why hasn’t that translated into higher sales of flash collections?

Galef: This is a tantalizing question, but one that also bedevils short story writers. Practitioners and readers of short material are always being told that novels sell and short story collections don’t. Editors often acquire a short story collection with the understanding that the author’s next book by the press will be a novel. The funny thing is that, back in the golden age of the short story, say the 1920s to the 1950s, with magazines such as Collier’s and The Saturday Evening Post, authors like F. Scott Fitzgerald would bankroll their novels by selling enough short stories to allow them to produce a long manuscript. But that hasn’t been true for many decades. Maybe the larger question is why the American reading public, what’s left of it, prefers novels. Blame the American aesthetic (and business model) of bigger is better?

Kuntz: It is a paradox. Even as late as the 1980’s most magazines published short stories — Playboy, Esquire, Ms., Redbook, etc. They’ve since stopped, and yet, at least in my circles, short fiction abounds. I think if the artists themselves felt a stronger sense of supporting the work, it would help turn the tide at least some. Most writers are limited financially, yet buying a dozen or so collections a year couldn’t be that big a burden. A writer friend of mine said this a while back, and I’ve found it so true: “I always laugh when a friend says they don’t have $15 to buy my book, but then their next sentence is, ‘Do you want to go grab a few drinks?’” What’s more important, a latte every day, or supporting the art community that you’re a part of? A related issue for flash fiction is that anyone thinks they’re capable of writing a piece, when it might just be a statement or sketch as opposed to a fully formed idea.

Galef: True, very. I’ve published two children’s picture books, and the same idea holds there: a lot of people think they can put together a kid’s book, have someone else illustrate it, and voila! The unstated assumption is that it’s short, so how difficult can it be? That’s valid insofar as it’s easier to rig up a piece of flash fiction than it is to put a novel to bed, but even the shortest story should have some kind of narrative drive, as well as a beginning, middle, and end — something to give it body and shape. That said, a lot of fiction exists in sketches, rants, dialogues, and so forth. It’s hard to pin down what flash ought to be without thinking of some talented exception.

Kuntz: I agree that it’s hard to pin down. I do think, however, that it ought to be able to stand alone, and stand out on its own merit and still have a sense of wholeness. The proverbial micro attributed to Hemingway — “For sale: baby shoes, never worn” — does just that in only six words. Here are a couple of other examples I found in Dime Show Review, which just came out in print:

  • “Bare toes on rotted linoleum. Roaches scurry.” ‘Mommy I’m hungry.’” — “Rooms-$7 A Night,” by Jayne Martin
  • “Sitting outside the home. Junkie mother’s four hours late, again.”
     — “I Wait,” by Daniel Green
  • “The computer displays images, among them my death mask.”
     — “Images,” by Clyde Liffey
  • “She beat me again for my own good. It wasn’t.”
    — “Tough Love,” by Paul Beckman
  • “Waking on bloody sheets — Bells toll. I’m twelve, refusing marriage.”
    — “Warrior Caste,” by Claire Lawrence
  • “Finally he met her, but the ring said: Too late.”
    — “The One,” by Rebecca Long

I think these are all good examples of the very shortest fiction that still tells a complete story while also packing a wallop.

Galef: It is kind of amazing what a talented writer can accomplish in just ten words. I read flash fiction before it had that label, in work like Aesop’s fables, Boccaccio’s Decameron, and Biblical parables. But those texts are rather stylized. The first time I read a tiny, realistic story with a twist at the end was in a collection featuring MacKinlay Cantor’s “A Man Who Had No Eyes,” about an exchange between two former factory workers who meet on the street. I was amazed at how much character and incident was packed into just over 1,000 words. It’s still an old-fashioned crowd-pleaser, though a bit dated for a slam crowd. As I read more of what was out there, my reaction for the stuff that worked was the same: Look at what that writer can do in such a small space! These days I like a lot of the material on Ben White’s nanoism site. It’s like a world opening, then another, then another.

Kuntz: Yes, but I wonder whether flash fiction writers get as much credit, as say, traditional short story writers, and if not, will they ever?

Galef: Too many critics consciously or unconsciously equate bulk with importance. We talk about the Great American Novel, not Great American Flash Fiction. The traditional-length short story is somewhere in between. The few flash fictioneers who get credit, like Hemingway, made their reputation in regulation-length stories and novels. I’m not sure that’s ever going to change much.

Kuntz: Yet Alice Munro recently won the Nobel Prize and George Saunders the National Book Award. Both won for short fiction, and while it’s not flash, it does seem as if there’s a new appreciation for brevity in writing. Certainly a lot of people are reading and writing it. I’m still holding out hope that flash fiction writers will soon get their due.

About the Authors

David Galef has published over a dozen books, including the novels Flesh and How to Cope with Suburban Stress (one of Kirkus’s Best 30 Books in 2006) and My Date with Neanderthal Woman (winner of Dzanc Books’ inaugural short-story collection award). His latest book is Brevity: A Flash Fiction Handbook, from Columbia University Press. He directs the creative writing program at Montclair State University.

Len Kuntz is the author of over 1,000 pieces of flash fiction published in places ranging from PANK to Word Riot and Eunoia Review. Len Kuntz’s two collections are The Dark Sunshine (Connotations Press) and I’m Not Supposed to Be Here and Neither Are You (Unknown Press). He’s also the fiction editor at Literary Orphans.

“Ram” by Swati Pandey

Every morning I walked four miles and counted my footsteps in my sandals. It was one hundred and fifty steps to the end of my street, another nine hundred after turning right, and some six thousand down a larger road until this village became the next, according to a green reflective welcome sign announcing the elevation, 1,300, and the population, 7,000, written in bold white numerals and likely not including people like me, immigrants.

At the sign I turned around, reversed my steps home, and wondered how the town I never entered had such a round number for its population when it had no way to adjust the total, unlike I who could shorten or lengthen my steps to reach a particular number, which I did for the pleasure of it. Maybe life in that place was such that its residents were born and died with perfect symmetry, to suffocate grief with joy, and joy with grief. Such symmetry did not exist in my home country. In India death was jagged and everywhere, like scrap metal.

For eight years, since 1982, I had lived in my son’s home in a small village in this new country, America. My son hated when I called it a village, but that was what it was, a village. Everyone knew everyone, at least the whites, and everyone said hello to everyone, at least the whites. Those who walked eyed me carefully every morning because I was foreign. They were people who had cars but chose to walk, and they had never known any other way of life.

“If it is a village,” my son liked to say sometimes at dinner with his mischievous grin, “show me the cows.”

“Not every village has cows,” I said.

“Only the rich ones?” He laughed as if he had never heard himself say it. Being the youngest son had made him childish long past the age for it. The quality seemed to charm his wife and daughter, at least, who indulged the old joke. They were always ready to laugh, a quality I found unsettling.

“Do you know,” my son turned to his daughter, “that your grandfather lived in a village very far away, on the other side of the Earth, and built his own house with his bare hands and with very little money?”

She did know because he had said it before, but she pretended not to know, or perhaps she did not remember. She was only eight years old so it was possible she had no interest in remembering facts about the elderly. It was true I built my home but so did many others then. Because we had to live in what we built our houses were small and careful, not like my son’s home, with weak wood walls and too many windows. He liked to count the money I never had when he was young because it made him prouder of what he had accomplished. He was an engineer, aerospace. His brother was a doctor in our home country. I had been a math teacher, not a very lucrative profession but one respected by all, except, I often suspected, my wife.

“Is it true baba?” the child asked. She rubbed my oversized knuckles. Her soft touch still made me wince.

“Yes, yes, it is true. With these hands.” I held them up and hoped she believed me. To me they were indeed the same hands that built a home. I had to squint, and remember the current year, to see them as they were now, gnarled and spotted like banyan tree roots.

“Wow,” she said.

“Yes, wow,” I repeated. It was one good thing the English had invented, the word wow.

“We had the four of us in one bedroom, though sometimes it felt like five people, it was so crowded,” my son said.

“And more wow,” I said, “many people when building a home, if they made a mistake, had their hands cut straight off.”

I made a chopping motion and landed on her wrist as I had many times before to make her giggle and worry at the same time.

“Dangerous work,” I said. “Hard work. This, your baba did. And still I have my hands.”

“Is that why you have this scar?” she rubbed an old wound with her little thumb.

“Yes,” I said. “Yes, an accident. Accidents do happen.”

“All right, you have said enough,” my son’s wife said, worrying about the child’s fears.

“I’m fine,” the girl said. Another wonderful local expression. To grow up in an American village, I thought every time I looked at her, is to always be fine.

After dinner, I did one more walk in my son’s front hallway, lined with pictures of the girl growing older, up and down thirty times, fifteen steps each direction. My granddaughter learned to count this way, walking with me in the hallway after dinner, though she otherwise learns not from me but from her television.

Counting made it easy to forget what you were doing especially if you had to count as high as I did. And even at my advanced age, it had become too easy to count to thirteen thousand and two hundred in this language. So I stopped starting from zero, and instead counted the steps of a week or a month or a pair of sandals, which gave me the added challenge of remembering numbers from the day or the walk before, not just the moment before. I counted the bites of food I ate and how many times I chewed. I counted until I fell asleep each night. I counted the number of minutes the girl watched television and the number of times her mother stirred a pot of lentils even though there was no need to stir, the pots here did not burn. Counting was simple, grim, bound by clear rules. This was how I filled my mind until I met Patty.

“Patty, like a hamburger?” I said.

“Well, no, silly, it’s short for Patricia.”

At least this silliness made her laugh. Patty or Patricia told me most of what there was to learn about her the first day we met, even though she only walked with me from step one hundred and eighty-five until step twenty-five hundred and thirty-one, less than two kilometers. It was difficult to count with her next to me, talking. She was a tall blond American, and the only person who had ever said more than hello to me during my walks. We met as we turned together from my son’s street — she must have lived on the opposite side — to the intersecting road. She waved at me with a long and excited arm as if I were an old friend. For a moment, I wished that we were old friends, wished that it were even possible, that we were not divided by decades and a hemisphere, for the pleasure of having met her when I was young.

“I live in a little house just down the road,” she said. “My husband passed so it’s me and my boy Milton, my sweet problem child. He is eighteen and has absolutely no inclination to get a job or a girlfriend or anything. If I ever dare have a date, which is near impossible in this little town because all the men are either married or too young or dead, my Milton goes wild with envy and slams all the doors he can think to open and when he is not slamming doors the boy’s poor eyeballs are just glued to the television screen. I leave to take the bus to the hospital — I am a nurse for gentlemen and women much older than you — and eight or twelve hours later depending on the day, I come back and there he remains, without having moved an inch, except maybe for school but I don’t even know for sure that he goes, the poor boy.”

The conversation about this Milton brought us from the corner of my son’s street and the road intersecting it to very near the large crosstown way.

“And you? What is your story? What brings you to our lovely little town?” she asked.

“My story,” I said.

“Yes. All about you.”

“There is no story. I am here living with my son and his wife and daughter. My other son lives in my home country, India. My own wife is gone for many years now,” I said.

“I am so sorry to hear that, how terrible,” she said.

“Oh, it is quite all right,” I said. “Now she is, I suppose, at rest, as you say. What is it? Rest in peace? Life was hard for her.”

“Hard enough that she would prefer to be dead?”

I stared at her, stunned at the shameless question. This Patty had no right to speak as she wished and yet she must have believed she did. Americans and their freedom of speech. It turned them all to idiots. But it was then I noticed her eyes, like lapis set in ivory. I had never had the opportunity to peer at such length into blue eyes. She looked the way Americans like to depict angels, white, pink, blonde and blue.

“So why did you leave?” Patty said, looking away from my gaze. “Was it because she passed on?”

“It was not that. I went on living there for some time. But when I retired from teaching mathematics I thought I would spend some time here with my youngest son,” I said. It was a lie. My other son had kept me at his home, had grown tired of me, and had decided it was my younger son’s turn even if it required me to move here, even though I had no desire to die in this country in one of its perfect hospitals, even if it came with a Patty. I wondered how many men had expired with Patty at their sides.

“That was a very efficient telling, I’m sure,” she said.

“Do you walk each morning?” I asked in an effort to talk about something more appropriate.

“Well ordinarily I sneak out very early before Milton wakes up so I can make him breakfast when I come back, but the boy sleeps later and later. In any case, no, I haven’t walked for very long. There are things I used to do in the morning like garden and jog and play tennis but these things grow difficult for old knees don’t they?”

“Your knees don’t seem very old,” I said. They were in jean shorts, pale white, with a few blond hairs on the dimpled caps. Their slight fat made the knees appear to smile.

She laughed, showing all her strong white teeth, and only then did I realize I had said something I should not have said.

“Well don’t frown like that,” she said. “It’s just fine to ask, I’m not one of those sensitive women. I am forty-five. But my knees are ninety.”

“I am seventy,” I said, smiling with no teeth, as I preferred. I worried that sweat might start rolling down my bald head. She was only forty-five. Something had aged her face beyond that, but she was still beautiful. She had pink lipstick but nothing else on her face, and it made her blue veins appear bluer under her pale skin.

“Seventy, well isn’t that something,” she said.

“Is it something?” I rubbed my old gray chin. It was sharp once, indeed, before my skin went so slack.

“You don’t seem that age is all,” she said.

“Seventy years young, yes?” I said. “That is what they say, Americans?”

“Isn’t that the truth? Years young. You see actual young people like my boy and they act like they’re older than we are. They don’t walk or even move much. I think the last time Milton really moved was when some toast I was making got caught in the coils and lit on fire and the smoke alarm was blaring — woo-oooo, woo-oooo, woo-oooo — and that boy ran faster than I’d ever seen, whoosh, out the door in his boxers. I think he ran further than you or I have ever walked on our morning walks. He has always been scared of things, well, for all his years.”

I smiled at the sidewalk and wondered when was the last time I had run for any reason. I could not recall.

“I walk four miles a day, at the least,” I said.

“Four miles all alone? My goodness. With no walking shoes just those old sandals?”

“Yes,” I said. I hadn’t realized my sandals were old. They had not yet traveled even three hundred thousand steps. “It is no problem. In my country I had no car and in fact never rode in one until I came from the airport to my son’s home.”

“Goodness,” she said.

“Yes,” I said. “So I walk everywhere and I count my steps when I walk. But today, I have not counted.”

“Because Chatty Cathy here won’t quit.”

“Who is Cathy?”

She laughed in her loud way again and raised an arm to wipe sweat from her hairline, careless of showing me her underarms yellowing her white sleeveless shirt. There was not a single stub of hair that I could see, just rosy whiteness.

“It’s an expression,” she said. “Listen I gotta get back to my boy and I sure can’t keep up with you. Are you really seventy?”

“My knees are thirty-five,” I said.

“Well of course they are,” she said through her thrilling laugh.

In the evening I asked my son and his wife at dinner if they knew a woman Patty or Patricia with son Milton. The wife thought she knew maybe a Sally and a Pauline but no Patty. My son knew only the neighbors on the two sides of his house because those were the ones he saw getting into their cars for work each morning and with whom he had to have negotiations about fencing. My granddaughter knew only the parents of her friends.

“Madhu and Raj are Sunita’s mom and dad,” she said. “Justin has no dad but he does have a mom but I don’t know her name. Jackie has a dad George and her mom is Melanie. Jackie’s real name is Jacqueline but she goes by Jackie because shorter names are cooler.”

“Yes,” I said. “This is why Patricia goes by Patty. But sometimes she calls herself Chatty Cathy.”

“You seem to know her quite well,” my son said.

“But none of you knows Patty. How is it so? She lives across the road here,” I said.

“I told you it is no village,” my son said. “We only know the neighbors and the people like us, the foreigners.”

My son scowled, an ugly expression I never managed to force off his face when he was a boy.

“I know people,” the daughter said.

“Quiet, child,” the wife said. “Let them talk.”

“Where did you meet this Miss Patty?” my son said.

“Right here on the road. She is walking like me,” I said. “She lives alone with her son.”

“No husband?” my son said.

“It’s always good to have friends,” the wife said. “I know, it took me years to find them in this place.”

“Friends are not family,” my son said. Since taking me into his home, he enjoyed discussing the importance of family, though when he was growing up, all he wanted was to leave us, and he did. “Family is why we are here. What have friends done for you?”

“They have been with me when you are at work all day and night,” his wife said. “They talk to me when all you do is sit before the television.”

“We are not friends. She is just a woman,” I said.

“Just a woman,” my son said. “There is no such creature.”

“Ch-ch-ch,” said his wife. It was her timid way of signaling dismay.

“I don’t think he should — ” my son said.

“It’s fine,” she said. “He needs more to do than watch her.”

“I don’t need anyone to watch me,” the girl said. “I’m eight years old.”

“You do need someone, child,” his wife said. “This is why your baba is here. So you can spend time together.”

I said nothing and continued to eat. Whenever they talked of spending time with me it sounded like talk of a boring family vacation — only pleasing for its impermanence. After counting the last of my mouthfuls, I stood to walk. The girl joined me, as she sometimes still did, keeping count. I put a hand on her head as we walked. She had several adults who might watch her, neighbors and friends of the wife, official hired helpers, the school itself. But instead I watched her. Everyone seemed to believe that I needed an occupation, even if that occupation was tending to a small child, like a woman, to ease into my dotage. They seemed not to notice that I was active, awake to the world, gifted with good eyes and ears and young knees.

The girl walked home from school every day with that backpack nearly the size of her entire body, filled with the fat textbooks that children here use. Although the girl and I did not speak very much beyond hellos and a story here or there, I was watchful and restless until she arrived from school and when she did, I sliced a green apple and salted it for her and went to take a nap until dinner. For a time I tried to help her with schoolwork, but for some reason, she found me unhelpful, or perhaps unkind. It surprised me how little a child of her age knew of math. Between the end of my morning walk and her arrival from school, there was very little to do but read my old prayer books, repair their brown paper covers, or sleep.

It would be a lie to say I did not think of Patty instead of falling asleep to numbers that night, my downward count, as I usually did. Chatty Cathy. That was a hard thing to say for me. The hard T sound and those sharp As were unfamiliar to my tongue. Chatty Cathy, I practiced, whispering into the dark below the speeding ceiling fan. My son chose not to use the air conditioning. To save energy, he said, but really he wanted to save money.

Patty. Patricia. Twenty-three hundred forty-six steps, a wonderful number, we took together. A woman like her should have many friends. I wondered why she was alone and why she would decide to talk to me.

The following morning I walked the one hundred and fifty steps until the end of my son’s street and then crossed the road, thirty new steps, instead of turning. Nearly twenty-four hours had passed since Patty, or some fifteen hundred minutes. I was not counting. It was only an approximation.

There were other directions to walk though most looked the same as the rest, trees rooted every ten feet along the smooth white sidewalks that rarely carried litter of any kind, or even an ant. I preferred the large roadway, slightly dirtier, with the cars flying past. It gave me a sense of life.

The houses on the other side of the road were exactly like the houses on my son’s side of the road except smaller, with no second floor. But like my son’s side, this block had what my son told me was called tract housing, in which every third or fourth house was the same but the families in each put up small markers of difference like a hoop and board for basketball or a rose garden. There were many of what my son called “lawn ornaments” even though they were not ornamental at all but rather like children’s toys, plastic and garish. My son himself had only one ornament, a small American flag planted in the ground, as if his quarter-acre of land were a colonial outpost and he the administrator.

I tried to occupy myself until the emergence of Patty from one of the houses, though I could not anticipate which one, could not know even whether she would walk today. It was the correct hour for her to begin her walk if she was precise, as I was, about when to walk and when to return home. But time must have been different for her. I walked around the block, counting the houses, fifteen, then the cars, thirty-seven including five vans and three trucks, then the ornaments, fifty-two, because one house had forty-one alone, those long pink birds. I made another round, moving newspapers from driveways to front steps. I wondered if the families inside these houses could see me, and whether I alarmed them. I was old now, however, and probably not alarming to anyone. I had passed to the stage of being a nuisance at worst, even though I could still shout with a bull’s voice and throw my fist at a nose. I believed I could, in any case.

“Hello my new friend, are you waiting for me?” She was standing across the street. I could not tell from which house she had come. “Well, I overslept right through my alarm and the snooze. And really, what are you doing with those newspapers? That is so sweet of you to bring them in.”

“Good morning Patty,” I said.

“Good morning yourself and please forgive me but I have forgotten your name,” she said. “My mind is aging fast, you know.”

“You may call me Ram,” I said. She misremembered. I had never given a woman my first name, not once in my life.

“How do you spell that, R-A-H-M, like the Jewish name?”

“R-A-M but sounds like Rahm.”

“Well hello Ram. Now don’t you want to count this morning? Or can I walk with you?” She was already walking with me before she finished asking. She began to tell me about Milton having what she called a “meltdown” the night before. She refused to speak further about it, so I ignored it as well. I did not think she could manage silence about any subject, and I was correct. She began to tell me what happened.

“He wants to go driving across the country with his friend Luis in a big van that Luis bought for eight hundred dollars off some addict who lives on the far side of our big highway, the one south by a mile or two of here. And I know that boy is an addict because I know what that looks like from my work as a nurse and I just don’t know why Luis or any decent person would give a poor boy like that any money because you know where it’s going. So I said, no, Milton, you may not go riding across this beautiful country of ours in that hunk of junk — which by the way is now in my driveway — no matter that I did it when I was a young woman. But that was with my husband in a good car, a Camaro, and we were honeymooning.”

“Honeymooning,” I repeated. It was one of the top words in the English language by my estimation. Hunk of junk was also good. I wondered what a Camaro was.

“Yes, I know, not very romantic but my husband wanted to see the country and I went along with him, story of my life,” she said. “So Milton explodes, punches a hole right through my new white cabinets and slams the front door so hard that the house shakes right down to its foundation. So he went off who knows where to do who knows what and came back lord knows when at night. So you see, Ram, I have not slept a wink, I was so worried about that poor boy and I was so certain that he had just up and left in that likely stolen vehicle that will break down the moment they hit desert or a mountain road and then what’ll they do? But he came back at least, for now. That’s the type of boy he is, Ram, he’s not as bad as his friends and he does need me.”

“My son is good except for silly jokes he likes to make,” I said. “He had a brother who was perhaps more like Milton. A boy who did as he pleased, even when he should have obeyed. But he died very young.”

“Oh no. How?” she said. Her round face was gentler when she was sad. All of her skin appeared to droop at once.

“Disease,” I said.

“Oh, how awful. Cancer? Childhood cancer is just a terrible thing. It’s why I can’t stand to work in the pediatric ward.”

“Malaria,” I said. The shame that it was malaria felt almost as grave as the disease itself. “It was not deserved.”

“It never is, I should know,” she said. “Good gracious.”

I was not sure why she should know, or what. She was so buoyant. A soap bubble of a person. The sun was hitting our shoulders hard, and hers were so red, I thought I could simply cover them with my arm, perhaps, and hold her. I could. I could. She would let me then, it only took the mention of the death of my son. My wife never loved me again after his death. Why shouldn’t I win another woman from it? Disgusting thoughts.

“In my country, in those days, the disease was very common, especially for children,” I said. “You feel the pain of loss, yes. But in the midst of so much loss, you realize how small your own is. You do not struggle. I still have two living children. And they live well. One here. One in my home country, which is not like it was when I was a man. It is safer. Cleaner. Stronger. Like a Western place almost.”

“That is really something Ram,” Patty said. “That is just not how people think here. People feel their suffering like they’re the only ones.”

She was crying suddenly. This was certainly the moment I could, even should, hold her.

“Oh I’m sorry,” Patty said. “It just makes me think of Tony. My husband.”

“How has he died?” I asked. Something was churning in me, the thought of my dead son, my dead wife, and now this dead man, encroaching on my continuing life. Seventy, and unlike him, I would make seventy-one, would I not?

“A car accident,” she said. “Ages ago. Years and years. In the middle of the night. Slammed right into one of these stupid trees on our sidewalks.”

I did not know what to say, so I said, “My wife never cried in front of me, even when our son died. She simply went on living.”

“She must have been quite a woman,” she said, I hoped with envy.

“Yes, yes. She was strong,” I said. “She died of a cancer of the brain when my American son, his name is Nikhil, was the same age as Milton. Nikhil was always weak. Born weak, and his mother coddled him and loved only him. The love she had for me, for her older son, for her dead son — it all went to Nikhil and spoiled him. I think the reason he keeps me in his home, other than that it is required of him, is to be close to her again.”

“You’re here because he loves you,” she said.

I smiled. Americans loved love and hated the things that were actually meaningful, like duty.

“He keeps me because he must,” I said. “Everyone wishes I had died long ago.”

“Oh, hush,” she said, attempting a return to her usual gaiety. “You simply must be glad to be alive on this beautiful sunny day. Right? Otherwise you would be holed up in the dark, like my Milton.”

I waited for the child with particular restlessness that afternoon. There were things I said to Patty that I had never said to anyone. It was like what happens in a movie for a man and a woman, they talk to excess and somehow they become close and happy, except for me it felt painful, like a bloodletting. When a child dies he should stay dead. But after I mentioned him to Patty once, there he was, alive again. I could summon from memory, still: his date of birth, his birth weight — four-point-three kilos, strong from birth, my son — his date of death, his age upon death, nineteen hundred and seventy days. He had little time to become more than the sum of these figures. And my living others never seemed enough. My youngest son, the American, bore most of the weight of his absence. The punishments that I otherwise would have divided between two misbehaving bodies were his alone.

When my granddaughter arrived I had reason to put away my old thoughts. I handed the girl her salted sliced apple and sat down next to her. She stopped eating and stared at me.

“You can have your nap time now,” she said, as if she were the one babysitting me.

“I will sleep soon,” I said. “First I will sit with you.”

“Okay,” she said.

“Okay,” I repeated in her intonation. She smiled.

“Baba?” she said. I didn’t like when she asked one-word questions, but I did not correct her.

“What is it, child?”

“Are you friends with that lady? You know, Miss Patty?”

“Why do you ask?” I said. My loose skin was still capable of tightening across my chest.

“Mom and Dad were talking about it.”

“Oh? And? What were they saying?” I wanted to appear simply curious rather than anxious to know. I smiled and put my hand on her black hair still hot from the sun. I took her final slice of apple and she glared at me.

“That was mine,” she said.

“I’m hungry too,” I said.

“So get your own,”

She was not supposed to talk back or start sentences with a so. None of my children, living or dead, had so many demands, and such comfort with plenty.

“Well? What were they talking about Patty? ” I asked.

She forgot about the apple. “I don’t think I’m supposed to say,” she said but continued anyway. “Mom thinks it’s cute.”

“Oh?” I felt the heat of shame The idea that I could be called the same word as this little girl. It was a failure of the language and more so of manners.

“Mm-hmm,” she said. “And I think it’s cool you have a friend.”

“Yes, yes,” I said. “And what does your father think?”

The girl shook her head.

“I’ll give you the answers on your math homework,” I said. I felt hotter by the minute from shame.

“Really?”

“Yes, really, now speak.”

“He says everyone will laugh at you,” she said. “Because you’re old? And she’s young and she’s from here and you’re not. He says there are rules.”

“Well I am too old for rules,” I said.

“Baba, you’re never too old for rules.”

“This is a free country, that is what your dad is always saying,” I said.

“There’s one more thing,” she said. She leaned in closer to me and put one small hand on my arm, as if protecting me from something. “Dad says her husband died drunk driving and that’s really sad. You’re not supposed to drink and drive.”

“All right, that’s enough,” I said. That Patty, so happy, so light, had experienced such tragedy seemed impossible, but could a child invent adult tragedy? I regretted that she spoke of Patty at all, and that her mother did too, her mother who would have had no marriage were it not for me allowing her to marry my son. I regretted still more my desperate urge to know.

“You’re the one who asked,” she said, as if she knew what I was thinking. Already a woman, this child. She pulled a piece of paper from her backpack. It was ten problems involving adding simple fractions. I could finish it in a minute or less, of course.

“And? What do you say?” I said.

“Thanks, Baba,” she said, and went to turn on the television. Her face slackened happily at the sight of the cartoon ducks she loved. I did the math in telltale pen because I was angry at her satisfied look. If the teacher questioned who did her homework, she would be in deserved trouble.

The next morning I walked to Patty’s block again, five minutes later than the prior morning, so I had time only to move a few newspapers to doorsteps before she emerged from the home, the one with the dingiest of vans in the driveway. Her home was a dusty blue single-story with white trim with two flags — one American and one flowered, for no country. There was a wild bush of pink flowers, a row of violets, a swinging bench with yellow seat cushions, and an old basketball hoop over the garage door. I let myself imagine it said something about her, as was the intent of these American gestures.

“Hello Ram!” she said. “Milton has come to meet you.”

I could barely see him even as I crossed the street to her. He stood in the safe darkness of the front entry, dressed in black, blond hair covering his eyes. I did not want to shake his hand but that was what she seemed to expect. I thrust my arm from the heat of the front step into the air-conditioned space he occupied. His hands were cold and damp.

“Hey man,” he said, shaking hair from his eyes. They were a paler blue than Patty’s, and I realized he must take after the dead husband. In that moment I managed to envy both men, however stupid a feeling it was. “Thanks for hanging out with my mom.”

“It is no need for thanks,” I said. Even if Patty had told him to say it, he seemed sincere. They must have reached some agreement over the desired car trip.

“Ram, I’d like to take you on a new walk. I have my good shoes on,” she gestured to gleaming white walking shoes, “and I’m ready. There actually are hidden little places in this town, trails lined with old trees and crawling vines. It’s why I came here and not the next town or the next one because otherwise, what’s the difference? I don’t know how much traveling you have done in this county but I can save you the trouble because it’s all the same, except for this town and its little trails for walking, which you like so very much.”

“It is a time-pass,” I said. We waved goodbye to Milton and began.

“Pastime, you mean?”

I shook my head. “I know this word. A pastime is something to enjoy. A time-pass is something you do because there is nothing else to do.”

“Well you sure know how to flatter a girl,” she said, laughing.

I reddened and stayed silent for some time. There was likely something an American man would know to do or say, but I did not know it. I felt my skin tighten again. It was not nerves. It was something for her.

Within four thousand northward steps we turned onto a dirt path that was, as Patty promised, lacking the precision of the sidewalks. In the patched dark beneath the leafy trees, my head stopped burning from sun, and no sweat dripped down my sides. Patty’s skin revealed its pinkness in that light. She was wearing a sleeveless shirt again, through which I could see a white undergarment. Women’s things were always lying around my son’s house, or drying on lines in the yard where his wife hung them, so I was somewhat accustomed to the sight of them, though not on a body, not for some time. I stared at my feet to have something else to look at and counted steps while Patty spoke of various uninteresting things, the history of the town and its trails, until she came back to her constant subject.

“I thought Milton could learn to like fresh air on these trails, especially after his father died, a boy needs nature, activity, something to help him grow up,” she said. “For a while he had a job and helped me with our finances, which are not in the best shape since Tony died, or even before that, since he lost his job, but just when I thought Milton was getting grown and right and happy again he turned into who he is today.”

“What happened to him?” I asked.

“Oh, I don’t know. Adolescence.” Her voice had a hard edge that I had not heard in it before.

“And what is it that happened to your husband? I have forgotten,” I said, though of course she had never told me what caused the accident. I did not want to be the only one of us airing old sorrow. I was still looking at my sandals and counting steps but I could feel her staring at me and then finally her soft hand on my shoulder, turning me to face her. It was the first time she had ever touched me, and I wished it were a kinder touch.

“What have you heard?” she said. Her voice had a new quality that I didn’t like in her, the whimpering rage of a wounded little animal. It was enough to confirm the girl’s story.

“I should not have asked. Please forgive me, Patty,” I said.

“He was drinking,” she said. “I couldn’t stop him.”

It was the shortest story she had ever told me. I tried to create the look of sympathy on my face that she could summon so easily. But I had difficulty finding a feeling for this husband, especially because of the alcohol. In my country we did not ask for sorrows. We had enough given to us.

“I am sorry, Patty,” I said. Americans always expect this word, sorry. What kind of culture makes a casual and common word for this feeling?

“You’re lucky. I would go through it all again if Tony could just die of malaria, anything where you get to say goodbye.”

“Malaria is not an easy death, Patty,” I said. “To watch life slowly leave a body is a hideous thing.”

“You’re right, you’re right,” she said. “And of course there’s no malaria here. It’s a pity. If your son had been born here, he would still be alive.”

“Patty.” Her refusal to move her eyes from my face was unnerving, and I felt an old and electrifying rage. Women were not supposed to stare at men. Women were not supposed to pity the dead sons of men they barely knew. But why would buoyant American Patty know that or have any respect for me or for my past? Here she was, begging me, daring me to say and do something to her.

I thought suddenly of my wife, pleading through her strong gritting teeth for me to lie with her on her deathbed, her eyes locked on mine like Patty’s were now, with that womanly animal look. I refused my wife quietly and sternly. The doctor nodded his approval. The nurse turned her back and her shoulders shook. The other patients in the long ward carried on with their separate miseries. How could I have embraced her? That would be a sign of my own weakness. I had to let her scream alone.

“Patty,” I said. I put my arms on her shoulders. She was hot below my hands. I could feel the thick straps of her undergarment beneath her flimsy white shirt. She was crying now, her tears mixing with her sweat. I imagined their salt taste. I wished, briefly, that we had simply walked along the highway, hands clasped behind our backs, not touching, as usual. I did not know what to do with my hands here. They did not want to leave her body. She was closer and closer until our lips met. Hers felt sticky, like a pastry, and mine were paper dry. Then, her hands were on my chest.

This was what it was to be in America, I realized. I had known no woman but my wife in all my years, not even a village girl in my youth, though I tried with one, once, I even remember her name and her age. I tried and failed. But here in America there are willing women for old men and dark godless paths to take, to which the women will bring you, and a society that shrugs at everything because it has everything. I was right. There need not be rules in a place like this, not with a lonely woman like this, and here I had been simply whiling my last days quietly away, waiting for my death.

I pushed my lips hard onto hers, broke through the wall of her teeth with my tongue, pressed my fingers into her shoulders first and then underneath her clothes. Her hands had surprising strength against my body. The feeling of touching her went from my mouth to my heart; blood pumped hotly to every inch of my skin, and I thought I felt the old heat between my legs. My wife had been dead twenty years. The enormity of that span of time, without this, made me clutch Patty harder until I thought it time to push us both to the dirt, no matter my old knotted hands, my brittle body, it still had its power.

We were on the ground when I felt a prick. With sensation everywhere in my barely familiar body I could not tell where the pain was. It was a bug bite, a stone jutting from the earth, the pinch of guilt perhaps. No. I felt the pain spread. It was her teeth biting into my tongue. My mouth filled with the heavy iron taste of my blood. I realized her hands were not holding me — had not been holding me — but rather were pushing me away. I took my hands off her and rolled onto my back.

“This is disgusting,” she said. “You’re disgusting.”

She dared to run on her old knees, simply to be free of me. I lied on the shameful spot of dirt. When the sun began to arc down I finally stood again and walked home. It was useless to count. Nothing could move my mind from her.

I refused to walk from then onward. This caused a commotion with my son and his family. They spoke openly of my imminent death without asking why I suddenly spent my days shut in my room. I would not have told them, in any case. Instead I simply yelled at them to send me back home because I did not want to die in America.

“Here they will freeze me and put me in a box on a plane,” I said. “With crates of lawn ornaments and suitcases full of T-shirts.”

I saw the wife smother a laugh, which I did not think to be inappropriate. Death can be funny, particularly when belated and slow. But my son frowned, and my granddaughter avoided us all. Children know better than adults how to fear death.

“I will talk to my brother,” my son said. “We will find you a home.”

“You have been waiting to send me back at first possibility,” I said. “As if I am a defective shipment. Not your father.”

“You have just said you want to leave. You hate it here,” he said. “All you do is sleep and talk about how strange America is.”

“I have long known it, since the day I arrived. A strange and awful place pretending to be wonderful,” I said, the closest I came to saying anything at all about Patty. “I cannot die here.”

“That I do not control,” my son said. “Death comes everywhere.”

I cried when he said it, and my tears silenced everyone.

In bed for most of the hours of the day, I could feel my muscles slacken and my bones lock in place. I prayed for my mind to calm its hectic function. But staying in a room alone will tax any mind, old or young. I watched the fan make its circles and pretended I was a boy again, pulling a rope to make the fan sway for my parents because I was the youngest and that was my duty. We had no lights then, no water except from a far-off well. I lifted my old arm up in bed and made the same gesture, pull, pull, pull to make the fan move and I eventually convinced myself that the mechanism of this grand plastic American ceiling fan was the very same as the fan of my childhood. Let me breathe, I begged the fan, let me breathe the young air again.

But kinder thoughts like these were rare. My mind held steadfast to her, to Patty. A ridiculous, ridiculously named woman with an addict husband and surely an addict or miscreant son. She was the shameful one, not I. She was the one who should never have come here and never have spoken to me. I was an old man with no ill wishes or deeds in the world, ready for death. I burned the bodies of my son and my wife, watched them return to the elements, and kept in fair health despite my years and my means. She was the one who had lived a dishonorable life. She came to me. If she hadn’t come to me, I would simply have kept counting, up and up, every gesture, until my gestures grew fewer and fewer, my steps shortened and then stopped, my breath gone in one final guiltless exhalation.

Nights were unbearable. I woke up choking on my own sweat, or so it seemed. The heat made it feel like my home country, like my marriage bed but missing one body, the body I used so heavily from that first night onward, desperate to erase my youth and its unsuccessful seduction. My wife had her long thick hair, her beautiful walk, her perfect teeth. Did they bite like Patty’s? I do not recall. I only recall how they reminded me of a dead man’s bones, they were so white and thick below her pink gums. The gums blackened before she died. Yes, death was everywhere, as my son said.

My poor granddaughter was the only one who came to me during the night, when I cried. She slept in the room next to mine, our heads separated only by a thin wall through which she could hear everything, every wild word I mumbled in sleep, every confession, and of course, the sobs. She held my old hand until I quieted down, already possessed of the capacity all women have to care for a man no matter how terrible he is. As far as I could tell, she never told her parents about my crying. It wouldn’t have mattered. Part of aging, I supposed, was to become very intimate with humiliation.

On a rainy morning, because rain was rare, I found the strength to rise from bed. My bones creaked and I felt a slight pain in my temples. The staircase was difficult, but I managed it.

My son stopped eating and his eyes gaped. His wife raced to serve me orange juice and buttered toast. My granddaughter smiled and jumped up and down in her seat.

“Does this mean I don’t have to go to daycare?” she said.

“Your baba still needs rest. But we are so glad he is up. Aren’t we?” the wife said.

“I am going for a walk,” I said. I was desperate to see her. Patty. She would not walk in the rain. I could find her at home, with Milton. I could say I was sorry and then promise to never bother her again. This was all I wanted.

“You can’t walk. You haven’t stood up in weeks except to bathe. Sometimes not even then,” my son said.

“I am only walking a short way.”

“It is slippery,” the wife said.

“I can walk with him,” said the girl.

“You are not walking to that woman — ”

Before my son could finish speaking I pounded my fist on the table, upsetting my juice. The girl began to whimper.

“I am your father and as yet I am still alive,” I said. “And your mother is long dead. And I can do as I wish.”

“You,” he said, almost shaking with rage. “Your ignorance. First of her wishes, then of her pain. You think her headaches came for no reason? You ignored them for years.”

“You are the one who left her for this country. Is it any wonder she died so soon after?” I said, shocking even myself. I had never said such things.

“She died because you refused to help her,” my son was wailing now, my poor son.

“There was nothing I could do. And there is nothing I can do now,” I said as firmly as I could even though, for the first time in decades, his boyishness did not bother me but instead seemed sensible. It was a protest against me and my refusal to die.

“You will not go to that woman,” he said.

“Nothing I can do now, my son. She is dead,” I stood and attempted to kiss his head. He jerked away.

“Go,” he said. “And when you return, we will find a place for you in your country. You can die alone in a dirty hospital surrounded by misery. As she did.”

“Don’t speak to your father this way,” the wife said, stroking the crying child’s hair.

“It is all right,” I said. “It is deserved.”

There was silence. I put my dishes in the sink, which I had never done before because the wife always did it and which I hoped served as proof of my fitness of body and mind. I took the large black umbrella my son kept by the front door. It was only drizzling outside and I soon felt ridiculous carrying it. That feeling deepened when I found myself on Patty’s doorstep, heart madly trying to escape my chest. When I knocked, the door opened, but it wasn’t her.

“Hello, Milton,” I said.

“Oh, hey,” he said. He put his hand out dumbly. We had already shaken hands. I did not realize I would have to do it at every instance. The walk was indeed a terrible idea. My feet and knees ached. I needed to sit down.

“Is Patty here?” I said.

“Um, no,” he said. I couldn’t tell if he was lying because his hair was too long to see his eyes. He was perhaps fourteen centimeters taller than I was and he looked very young for his age.

“Can I come in?”

“Uh, sorry, man, I don’t think so.”

My stomach churned in horror. She must have told him what I did, or some version of it. Americans say whatever they want, even to children who have no business knowing what women endure. Inside, the house was entirely dark, save for a television screen on which two men were boxing. The camera focused on the blood each drew from the other’s teeth.

“I can wait for her?” I said, attempting to walk around him and trying not to think of the taste of blood in my own mouth weeks ago. “You need not be troubled. You continue to watch television.”

He stepped forward so that he filled the frame of the door. He crossed his arms. He looked unaccustomed to firmness.

“Sorry man,” he said. “Can’t.”

“Just a few moments with her?” I said.

“Look, I don’t care if you guys hang, even if you’re way older, whatever, right? It’s been ages since Dad and I’m sure you know what he was like in the end. It’s been like eight years, you know?”

I tried to smile. The young know nothing of time. He was a lot like her, to tell me something meaningful too soon. “Thank you,” I said, and added a lie. “She speaks well of you.”

He rolled his eyes. “Whatever. I just remind her of him. But I’m not like him. I’m not so bad.”

I smiled, and inched closer to the door. What did it mean to be not so bad to a boy like him? I could see the wallpaper behind him, pale green with yellow flowers, and the cold grey tile below his sock feet. There was an old photo of three blonds, all smiling in the way Americans do in photos, as if there was nothing grotesque about displaying a long gone moment of happiness.

“May I, perhaps, have a cup of tea? It is raining. I am cold, you know, my bones are quite — ” I said.

“Sorry. I was saying all that to say, you know, I get it, but she’s being how she is, so. You still can’t come in,” he said, shutting the door gently.

This was the story of the next several mornings, during which the rain did not cease, and my own son refused to speak to me, except to say the plans were almost done, that soon I would go.

I did not know exactly what I would say to Patty if ever she agreed to see me, but I continued knocking on her door, chatting briefly with Milton, and then heeding Milton’s request that I depart. Soon, I did not have to knock. Milton came to the door to pick up the newspaper, and usually I was already there with the paper in my hand. On a day of particularly terrible rain, I deliberately left my son’s umbrella at home so that I arrived at the door of Milton with old teeth clattering and woolen clothes soaked. The boy had some sense and let me inside.

“Jesus, man, fine, just stay to dry off but then you are gone,” he said. “And so am I.”

“You are traveling with your friend Luis?” Inside, the television was on, muted, and men were riding small motorbikes over hills of dirt.

“So she told you.” Milton left me in the front entryway with the old photo as if I too were an artifact. He moved jerkily, his body young but tortured, from darkened living room to kitchen, putting books and snacks into a large rucksack. He wrapped several small clear bottles, perhaps medicine, in socks, then transferred them to his bag. I sat on the sofa without being invited. It sunk beneath me like an old mattress. Next to it were stacks of newspapers, the ones I brought to the door each day, still unwrapped and unread.

“But Milton, it is dangerous,” I said. “The road. The old car.”

“Whatever man. She’s the one who freaks out about me driving since,” he said. “And listen, you gotta leave before she comes out here. She’s on edge lately.”

“On edge?” This was a new expression.

“She doesn’t say shit to me except when she’s begging me to stay or telling me how awful I am and how I’m just like dad.”

“Shit to you,” I said. The words were like mud in my mouth. I wondered if, to Patty, my shame was meaningless compared to any minor action of Milton’s.

“I’m out in like five minutes, dude,” he said. “Hope you’re dried off enough. Not like it matters I guess. It’s still raining.”

“Shame on you,” I said.

I heard him stop moving. He stood between me and the television. The room was dark except for that glow, silent except for the music called rock coming from somewhere. I stood up, the sofa squeaking to be free of me, and walked until I was just a few feet away from him.

“What did you say?” Milton said. This was a child who knew rage, clearly learned from his father. I could see it now, slowly replacing his pallor.

“She is alone. She is your mother. And you wish to leave her. Shame on you.” It was a phrase I learned from television. It was useful in America, where no one seemed ashamed inherently. You had to heap it on them, as you would a blessing.

“Shame on me? Oh you and she are perfect for each other,” he said. “You people can do no fucking wrong. But everyone else….”

“You can’t leave her. She needs you.”

“What, now you’re gonna try to stop me? Some fucking knight she found herself. A grandpa who can barely move.”

He finally looked directly at me when he said these words, and leaned closer to add a sense of threat. He held his arms too far from his body, like an ape. The impudence. My teeth hurt when I clenched my jaw but I kept it that way. The space behind my eyes was hot with quickened blood. I thought I tasted metal again. I would show him how to treat an elder. His own drunk father evidently never had. I curled my right hand into a fist as well as I could despite my knob knuckles and shot it toward his chin. The chin was too far away when I started, and further away it moved after I swung. My body followed my arm.

“Hey man, shit, relax.”

I heard him say it, and I saw him reach both ape arms toward my shoulders and hold them. He was steadying me. It was the cruelest thing he could have done. I jerked back, a mistake, the ground shifted so my feet were no longer planted and instead it was my head on something sharp, my back on the ground, my bones reminding me they were old by burning at the impact, cracking maybe, turning to dust, maybe. And then my heart, squeezing like a vise.

“Fuck. Fucking shit. Fuck.”

Blond hair hung above my eyes. I imagined it was Patty’s. But I saw Milton and his wet, frightened, pale little boy face. I saw the motorcycles rolling along, the muscled fans cheering, full of the happy stupidity of America, and I heard Milton say something about his dead father and now another dead guy not his fault, not his fault. But of whom was he speaking?

Where was Patty, I wondered? Where was she walking without me? And then, there she was, it was her hair I saw above me and her pale blue eyes. I murmured her name, or attempted it, I stroked her cheek, or attempted it. I waited for her embrace, waited with the sweet certainty that it would come. There was her ragged blond head above me and the hair shorter and finer than I remembered, the eyes paler blue, the face younger and like a boy’s.

But why was she crying? If it was for me, wasn’t it premature? Was I dying? The warmth was enveloping me. My head felt a kilometer deep and my feet felt as if they were walking on air. I counted the steps like I did down my son’s hallway, my sweet grandchild at my side, the wife nearby, my son nearby, but the steps and the numbers bled into one another. I asked Patty to hold me, begged her and begged her as my wife had begged me, and unlike my poor dead wife, I received it, the embrace, love. Oh, thank you, Patty, my American love, my only love, perhaps. And then the blond hair was gone and there were heavy running feet that were not mine, and then a motor. Above me I saw a ceiling fan swaying slowly as it used to do when I was a boy pulling a string to make it move, slow enough to count the turns so long as I could remember the numbers three, four, five, slow enough to seem lazy, as if slowed by the wet heat of that land, my home.

Pixar’s Inside Out and the Literature of Interiority

“Do you ever look at somebody and wonder, what is going on inside their head?” the first line of Pixar’s celebrated film from 2015, Inside Out, asks. Certainly, this is a question that many of the studio’s films pose. Pixar’s best work, after all, like much of the best literature, explores both the inner and outer worlds of its characters, resisting the urge — more common in non-Pixar Disney movies — to reduce its characters into one-dimensional heroes and villains.

In Inside Out, the emotions of a young American girl named Riley (Kaitlyn Dias) become personified into separate, distinct characters — Joy, Sadness, Fear, Disgust, and Anger (played respectively by Amy Poehler, Phyllis Smith, Bill Hader, Mindy Kaling, and Lewis Black) — who literally navigate the evolving landscapes of Riley’s mind. The film garnered substantial critical acclaim on its release and inspired a number of essays on both the neuroscientific and philosophical implications of its depiction of how our emotions work. I fell in love with the film myself as it began, when composer Michael Giacchino’s gorgeous opening, “Bundle of Joy,” began to play. Relatively few critics, however, have dealt with the books behind the kind of imagery we see in the film, specifically with the long, rich history in literature of portraying interior worlds — and how those may differ or relate to Inside Out’s vision of the mind.

The personified emotions in ‘Inside Out’

For some critics, there is a key difference between literature and film: the former can easily show the inner worlds of a character — their version of Inside Out — while the latter can’t quite get inside a character’s head, constrained as they are by the camera’s external gaze. A.O. Scott, in his review of Inside Out for the New York Times, indeed begins with this idea: “Literature, the thinking goes, is uniquely able to show us the flow of thought and feeling from within, but the camera’s eye and the two-dimensional screen can’t take us past the external signs of consciousness.”

Yet some films do manage to show us how a character thinks, and perhaps the better way to conceptualize this is in terms of how movies may do so. Federico Fellini’s 1965 film, Juliet of the Spirits, a beautifully surreal rendering of the protagonist Juliet’s mind, accomplishes this by altering the landscape of the movie to outwardly represent her dreamlike visions and thoughts. In Ma Vie en Rose (1997), a painful piece about a child named Ludovic trying to deal with gender dysphoria, director Alain Berliner relies on brighter color tones to signify happier times, and bluer tones to suggest how Ludovic’s mood darkens as her parents try to force her to be the boy they think she is. The anime film Paprika (2006) introduces hallucinatory settings which evolve to represent the dreams of its characters.

Top: Stills from ‘Ma Vie en Rose’ (1997). Bottom: Scenes from ‘Paprika’ (2006)

Sublime and shifting as its landscapes may be, Inside Out’s approach is still rather more conservative, in that the conceit it uses to show interiority is easy to follow and never feels random or disorganized. Although Riley’s train of thought goes, as the character Bing-Bong suggests, “all over the place,” it is represented by a literal locomotive confined to a track. By contrast, although there is organization in the depiction of internal thoughts in the work of a writer like James Joyce, the result feels less organized, more fractured — and, perhaps because of this, more accurate. A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake reveal a disquieting truth: the way our trains of thought leap unceremoniously from one track to another, whether we want them to or not.

The map to the mind in ‘Inside Out’

What does it mean to show a mind? How should one capture a mind, its hallways with their shadows and lamps, the galleries, the attic we push so many crates and catastrophes into, the basement we fear to step too deeply down in on certain nights of the soul, the insides and outsides too vast for this creaky metaphor of a mind as mansion, of brain as abode? Both film and literature must translate from a highly complex, dense internal language of neurons and synapses to one with half or less of the words, and some things will be lost as they do. Depicting interiority is never lossless. But once we acknowledge this, we can anticipate it better in our art. The art of depicting the human mind, in more ways than one, is the art of learning to lessen loss, and of learning that supremely important of life lessons, broadly applied: how to gain, even when we lose.

For a transgender person like me, interiority can feel both essential and accursed. How I see myself — how everyone sees themselves — is based on internal identification: I am this, I like this, I see myself like this. We have mental mirrors, which show us ourselves, show us identity aspects we already largely just know even before looking into said mirror: our sexual orientation, our likes and dislikes in the things we’ve experienced, and, of course, our sense of gender.

How we depict interiority can be political. There is a long history of portraying certain classes or groups of people as being less capable of thinking deeply, less capable of nuance, than others. I deeply admire James Baldwin’s seminal novel of queer experience, Giovanni’s Room; all the same, I still remember how I cringed reading the inner thoughts of the narrator when he came across people who may have been transgender women (they were described as presenting as women, calling each other by female pronouns) and reacted to them with revulsion. Their “utter grotesqueness made me uneasy,” he reflects, “perhaps in the same way that the sight of monkeys eating their own excrement turns some people’s stomachs. They might not mind so much,” he adds in a sentence that could have come out of Heart of Darkness, “if monkeys did not — so grotesquely — resemble human beings.” The “grotesque” characters are given little chance to exist in the novel beyond this. Sometimes, the books we love hurt us, too.

For cisgender people, there is usually little need to translate at least the gendered aspect of how we see ourselves for the sake of the outside world. But for many binary and non-binary trans people, that need exists: we often want to bring who we see ourselves as on the inside to the outside, so others can see us for who we are, too. I always saw myself as female because when I thought of myself, that was simply who I was. It was counterintuitive to consistently not be addressed as, or told I was not, a girl. People sometimes mistakenly think someone “decides” they are transgender because of their preference for the types of things stereotypically associated with one gender: the colors they are drawn to, the toys they play with, or other such nonsense. No — we see ourselves consistently as a gender in the same way any cisgender person does, even if for some of us our sense is that we don’t feel categorically like one thing or the other. The reaction of incomprehension and bewilderment to this fact by some cis people is a failure of imagination and empathy — a failure to look beyond external presentation to accept the possibility of another interiority. And as joyful as it can feel to be oneself, sadness follows close behind; whenever someone tells me I cannot be a woman simply because of my birth, it hurts, like seeing, suddenly, that the bridge of myself I have been walking along leads to Nowhere.

From the beginning of Inside Out, the characters of Joy and Sadness are connected in subtle ways. Joy’s hair is blue, like Sadness’ skin, and Sadness is the first emotion to appear besides Joy. Joy matures after she learns to accept the wisdom Sadness has to offer, and Sadness, too, learns from Joy. Emotions are permeable and interdependent, not separate; joy and sadness only work when they work together, like facing mirrors, leading back to one another. They are sister sentiments. And they equally have a function in making Riley whole; Sadness, after all, saves her in the end.

One of the small, silly reasons I loved Inside Out: Joy was a woman for Riley from the very start, just as joy was for me — and then came sadness, for a long set of blue years.

But I might never have come out at all, if not for the weight of all that blue.

There is a long history of the literature of interiority — literature that examines or attempts to depict the mind of a character. All literature, to some degree, arguably does this, but some texts make it far more of a focus. Perhaps the most overt examples of literary interiority appear in the twentieth century in connection with Modernism: Surrealism, which aimed to depict the inner life of dreaming, the subconscious, and the irrational; and the technique of stream of consciousness, which attempts to depict the unfiltered thought processes occurring within a character’s mind. Given Surrealism’s connection to the visual through its depiction of dreams, Surrealist literature is often less well-known than Surrealist paintings, sculptures, or film — even as each tries, with the unique qualities of its medium, to portray an oneiric illogicality. Literature which echoes this sense of the dreamlike, like Georges Bataille’s Story of the Eye, seems disorienting to read, yet that is precisely because it is a subtle, cinematic form of literary interiority capturing the feeling of dreaming and hallucinating.

The term “stream of consciousness” was coined in 1890 by William James — brother of Henry — in The Principles of Psychology. For William, consciousness was fluid, not able to be “chopped up in bits,” but rather more like “a river or stream.” In 1918, May Sinclair first applied the term “stream of consciousness” directly to a work of literature in a review of Dorothy Richardson’s novel Pointed Roofs, thus cementing the term as a reference to the device so many psychological novels would later use (though Richardson herself in fact detested the term). Writing that relies on stream of consciousness — like work by William Faulkner, José Saramago, Keri Hulme, Gabriel García Márquez, and Marcel Proust — often does show consciousness more faithfully than conventional prose.

But attempting to depict the interior life of characters, of course, dates back long before Sinclair and James. A distinctive early example of interiority comes from the Heian-era Japanese writer Sei Shōnagon, lady-in-waiting to the Empress Teishi, whose observational miscellany, The Pillow Book, was completed in the eleventh century. The book is eclectic and diverse, leaping from prose scenes to detailed descriptions to quips to lists, which sometimes resemble listicles. With such blunt and wonderful section titles as “Hateful Things,” “Elegant Things,” “Things That Should Be Short,” and “It is So Stiflingly Hot,” The Pillow Book offers a series of windows into the author’s mind. In “Hateful Things,” for instance, Shōnagon shares the following infuriating memories, and their terseness reveals much about her:

A flight of crows circles about with loud caws.

An admirer has come on a clandestine visit, but a dog catches sight of him and starts barking. One feels like killing the beast.

One has been foolish enough to invite a man to spend the night in an unsuitable place — and then he starts snoring.

Nonfiction does not always show us the writer’s mind. Perhaps surprisingly and unsurprisingly, fiction, which creates people, seems more often to directly depict how someone thinks. But Shōnagon does just this. Scattered and seemingly random, the patchwork lists and impressions of The Pillow Book capture the brain better than any orderly document could.

Like Shōnagon, but more focused on narrative, much of Virginia Woolf’s work attempted to capture that strange, protean element of the human mind: sometimes fluid, sometimes like a mist, now solid as something is brought into sharp focus. This is clear in those novels of hers which rove between minds and perceptions, as in Mrs. Dalloway, The Waves, and To the Lighthouse. But the clearest example may be one of her shortest pieces, a story from 1925 called “The Mark on the Wall.” Virtually the entire story is a narrator’s meditation upon the identity of a distant mark on the wall, though each thought pulls further and further away from the mark itself. “How readily our thoughts swarm upon a new object,” the narrator thinks early on in the story, “lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it by the end.” Near the end another character appears and abruptly reveals that the mark is most likely a snail, leaving Woolf’s narrator disappointed at having the source of their interior rumination reduced to something so prosaic.

In “A Sketch of the Past,” an essay posthumously published by her husband, Woolf further delineates the ways in which our inner and exterior worlds connect. She describes feeling “shocks” while engaged in mundane things, during which she will suddenly have a great epiphany. This phenomenon she ultimately calls a “philosophy”:

“at any rate it is a constant idea of mine; that behind the cotton wool is hidden a pattern; that we — I mean all human beings — are connected with this; that the whole world is a work of art; that we are parts of the work of art. Hamlet or a Beethoven quartet is the truth about this vast mass that we call the world. But there is no Shakespeare, there is no Beethoven; certainly and emphatically there is no God; we are the words; we are the music; we are the thing itself … I see this when I have a shock.”

Much literature that captures human experience thoroughly and well contends with this idea of sudden, unbidden thoughts. Such thoughts may reveal our desires — or, even, the things we do not want but inexplicably still think up. In Patricia Highsmith’s seminal novel of lesbian love, The Price of Salt, the character Therese — who has fallen in love with a striking, regal woman named Carol — has a sudden extraordinary thought as she is being driven for the first time to Carol’s home: as they motor through a tunnel, Therese imagines the ceiling caving in on the car, crushing everything.

Still from Todd Haynes’ ‘Carol’ (2015), adapted from ‘The Price of Salt’

It is something one might desire and not desire all at once, the type of contradictory yet comprehensible thought so many of us have likely experienced. Therese, after all, is afraid of losing Carol. And so at the height of their bliss she imagines something that on the one hand would leave them suspended in it forever, while it would on the other see that bliss snuffed out.

This is the dark side of interiority: that our happiest memories can shift so easily, sometimes, into our nightmares.

In Inside Out, memories are stored in marble-like balls, each depicting a clear-cut scene from Riley’s life. Each of her memory balls, too, bears the color of one or more of the core emotions.

Still from ‘Inside Out’

So often we depict memories like this: as discrete scenes. Yet to me memories more often feel like glimpses, fluid snapshots. My first kiss, with a woman, under a guinep-orange evening; my first kiss, living as a woman, a sea away; my first kiss with a man, atop the blue-and-saffron cover of my bed, in the reptilian heat of an afternoon; a cluster of bamboos juddering against one another like bones, in a field of yellowing razor grass near my former home in Dominica; a languid Sunday, reggae from a past decade carrying on the wind across the valley from the speaker inside a distant house; blowing into bamboo cannons and their burst as they fire into the December night, alongside the excited laughs of me and my cousins, my aunt and uncle; a vast sea turtle hidden inside a crevice, the world filled with the drone of my own breath through scuba gear, bubbles floating up like little jellyfish.

Memories — like emotions — are permeable. They can change. And one ingenious aspect of Pixar’s film is to show how Riley’s happy memories can become sad, and vice versa. Perhaps this, too, is key to interiority: that as our memories change, so too do we.

Inside Out leaves us with some unresolved curiosities. It revels in the pathetic fallacy, a term coined by John Ruskin, referring to the phenomenon of ascribing human emotions to non-human entities or objects. While not necessarily a bad thing, anthropomorphizing emotions may not be the most accurate way to describe them. The embodied emotions residing in Riley’s head, like those of the pizza waitress in the end credits, are all mixed in terms of gender, and yet those of her parents and teacher are shown to be uniformly gendered. Is this a commentary on how gender expression is sometimes more fluid in children, or are some of the characters genderqueer? The movie never clarifies this. How do each of the emotions think? And, by showing Riley’s emotions having agency, it begs the question of whether Riley actually has free will, if she is in fact being controlled by her emotions. Like a kind of giant robot, she is literally steered — the word her emotions use — by a control panel inside her head, and the language of the film (“core memory,” “memory dump,” Joy asking “who is in charge of programming” during Riley’s surreal nightmares) merely reinforces this.

All the same, Inside Out is as much about what it shows as what it suggests. “What could happen?” Joy asks in the film’s final line, as Riley approaches the cusp of puberty — indicated by a mysterious button that reads “PUBERTY” on the control panel inside her mind. It’s a jokey line, but it also reveals what the greatest writers of interiority know: sometimes, the best way to reveal a mind is by leaving something unsaid — to let its resonances collect in the spaces of silence.

Expanding the Twin Peaks Universe

Few places, fictional or otherwise, invoke as much mystery or devotion as Twin Peaks, the eponymous setting of the 90’s television show that will see a revival in 2017. Mark Frost, the show’s co-creator and writer, is also an accomplished author of novels and nonfiction, his latest being The Secret History of Twin Peaks (Flatiron Books), a unique epistolary endeavor that charts the underbelly of the town from the days of early exploration in the Northwest.

Frost’s novel invites readers to solve a mystery as they read. As the narrator, cloaked in anonymity of known simply as The Archivist, unravels the history of the town through FBI case files, it is up to the reader to pick up clues as to who is taking us on this journey. For diehard fans it’s a chance to put their expertise to work, and for casual fans it develops a sense of devotion to the text, pulling them along as they read.

In a coffee shop near Portland’s Powell’s Books, Frost and I recently sat amid a din of baristas and a soundtrack of oddly fitting music such as Nick Cave’s “Red Right Hand.” As a longtime fan of Twin Peaks it was overwhelming to spend time with one of the people responsible for the show’s existence and its mysteries, but having lost myself in the experience of the novel, which is buoyed by a striking design concept of artifacts and documents, I was eager to discuss the idea of crafting mythology and the blending of history and fiction.

Ryan W. Bradley: The initial announcement of the book said it was going to bridge the gap between the original series and the new one, but it doesn’t do that at all. Was that misreported or did the project evolve away from that?

Mark Frost: It was misreported. It was a generic press release that was put out before we really even knew what the book was. I quickly realized there was too much proprietary information that would have been contained in those gap years and might have been detrimental to the eventual series.

Bradley: So, that wasn’t something you ever thought about doing with the book?

Frost: Well, the series came first. The book was the second step. I knew I wanted to write the book, but even back when we were finishing the second season I used the success of the show to parlay a contract for my first book. That’s what I’d always really wanted to do. I started writing at seven, eight, or nine. That was my first love as a storyteller.

Bradley: Before you went into TV.

Frost: Yeah. I was a playwright. I studied at Carnegie Mellon. I was really thinking that was going to be my path and I did do that for seven or eight years and it was fine. I was having plays produced at various places in the midwest. But it was really about poverty. I got involved with a public television station in the Twin Cities. They hired me to make a documentary, and it was the act of making that movie that got me back into realizing… I’d already spent one year in Hollywood after my junior year of college writing television shows. At nineteen I was writing on Six Million Dollar Man, which felt silly on one level, but it was fun to make money. I didn’t grow up with very much, and I enjoyed being able to have a life. So, when it was time to go back to that in my late twenties, I headed to L.A. That was the right decision, it turns out. It took fifteen years, but I finally was able to figure out how I could get back into prose, and that’s been my main focus ever since.

Bradley: And you’ve written nonfiction, too, which probably helped in blending the material that makes up The Secret History of Twin Peaks.

Frost: Very much so. And having done a fair amount of documentary work, it’s a different sort of storytelling. In a film format you shoot first and ask questions later. The material evolves out of what you collect. It’s more like a found art than something you start from scratch.

Bradley: Was this format— the conspiracy theories and the alternate history of the United States — something you collected prior to starting work on the book?

Frost: My first thought was that I wanted to expand and broaden and deepen the universe of the show, and to do that I wanted to go back in time. That was the one dimension we hadn’t played with yet. I had to start with the arrival of American explorers in the area. Particularly with this area [the Pacific Northwest] and its explorers — this was a formative moment in westward expansion. And then I realized it was going to take me into this alt history — the Wilkinson conspiracy, the Meriwether Lewis murder conspiracy, which I didn’t know much about when I started this, only that there were peculiar circumstances and that perhaps the dominant version of what happened to him was not true. So, that became a really good template to set the idea of the book in motion: things are not often what they appear to be. And there was this tension that I have with the Archivist articulate, that fundamental difference between mysteries and secrets. Then I had the theme to work with.

Bradley: The book’s design, which is full of ephemera so to speak, is such a big part of the storytelling. You’ve mentioned how intensive that experience was, working with the design team. Were you involved in the source work and constructing how it would look?

Frost: I made recommendations at the start. Finding the sources was a little out of my purview, so I relied on them. I simply reacted to what they came back with. My goal was to try and tell as much of the story through the documents as possible. Even in my first and second draft I changed a lot of what had been more or less straight narrative from the Archivist into documents, in order to try and make that a predominant component.

Bradley: Was that part of the concept from the beginning?

Frost: Yeah, the idea of the dossier was a pretty early concept for me and then I really wanted to take it as far as I could. I thought it was a really good marriage of function and form.

Bradley: It adds such a strong dimension.

Frost: I think for a book associated with a visual experience — a television show — a strong visual component felt appropriate. The more we could make that part of the experience, even a visual experience of documents,the better. I wanted to get as much of a sense of authenticity as possible.

Bradley: There’s something really unique about using realism to provide an escape. A lot of people read fantasy or science fiction, etc. out of escapism, but I’m really interested in reality because it’s so hard to understand even while living in it. You can have a great marriage and great friendships, but when you really start thinking about how different you are from all those people it gets really confusing as to how you maintain those relationships. There is so much going on behind our vantage point of those people.

Frost: If you can drop something into a person’s life that cuts a hole in that veil for a minute…It always seemed to me, from a shamanistic standpoint, to go back to Joseph Campbell, that’s what art is supposed to do. That’s what storytelling is supposed to do. That was its function in a tribal society. It was supposed to cathartically get you out of yourself and give you a point of view on yourself that maybe you didn’t have before. So, I was hoping to do something here that would be a sort of American magical realism.

Bradley: It’s the flipside of Americana. And the show is that way, too.

Frost: There are a lot of iconic, sort of comfortable things that we cling to. [The show] captured that for a lot of people, and I think it revitalized a lot of those tropes. But then you think, but wait a minute, that’s not all there is, that’s just a thin veneer on top of life. What’s really going on underneath it? My experience of small towns was that all you had to do to experience a strange and alien world was to go visit your neighbors. There’s something weird going on around you at all times.

My experience of small towns was that all you had to do to experience a strange and alien world was to go visit your neighbors.

Bradley: There’s an advantage to what you guys did with the town — it becomes a character. It is both a villain and a hero and a mysterious neighbor. It gives you so much room to play in a novel like this.

Frost: Yeah, it becomes a lens through which you see all of this. That metamorphosis — from the frightened kid you meet to the cynical hardened investigator all the way to the perhaps enlightened fool. By the end of it, I thought that was a really interesting journey.

Bradley: You mentioned Joseph Campbell, which brings us to mythology, a big interest of mine. Aside from the classic idea of mythology, Greek or Roman or Norse, there is so much that we see now that we don’t even think of as myth. Americana is a kind of mythology. In the moment people didn’t think about diners as anything but restaurants, but now they are iconic, they are symbols.

Frost: It’s a tricky thing. It can turn into kitsch really quick if you’re not careful, or it can lead you toward something that seems central to the experience of being alive at a certain place and time. And that’s what we want it to stand for because it’s a shared experience. It’s a commonality. And if you grew up in my era, diners bespoke a certain experience and a certain way of living. It was branding before everyone knew what branding was. Then there was Edward Hopper and it got identified as that early on.

Bradley: Originally, when the show was first on, you guys thought you would be getting a third season. Were there stories that you were ready to tell that found their way into the book?

Frost: Yeah, we had started to do some preliminary work on season three way back when, and honestly I hadn’t kept any notes, but there were things that I was able to recall that were good breadcrumbs to follow going forward.

Bradley: Television shows, film, music, and books that develop cult followings become their own pop culture mythology. When you started writing the book was there a sense of pressure to follow that mythology and to work within the world that had created it?

Frost: The thing that folks have to remember is that we created the mythology. We dreamt it up, so I think that gives us a certain amount of license to take it wherever we choose. There have been a few complaints that there are things that aren’t consistent with the show. Well, the book is comprised of documents, not of words on stone tablets that we found under a burning bush. Documents by inference, through all human endeavor, are riddled with human imperfection. I actually included some typos on purpose and misinformation to simply duplicate reality. I know that creates a little cognitive dissonance for people who like to use the word “canon,” but canon is a little bit of a pretentious word. It’s a TV show, it’s not the collected works of James Joyce or Samuel Beckett. If we want to change it, we are going to change it and that’s our prerogative. And that also reflects reality. Reality is fungible.

We created the mythology. We dreamt it up, so I think that gives us a certain amount of license to take it wherever we choose.

Bradley: It’s easy to get caught up in doing service to fans, but that also makes it really easy to lose track of the story that you want to tell, as the writer or as the artist. That’s probably a sign of what you’re talking about. You focused on telling the story that you wanted to tell. And, as you well know, you can’t please everyone.

Frost: Oh no, and you have to know that very early on. That’s impossible. That’s apparently the job of politicians, not artists. The notion that stories can vary or have inconsistencies or colliding facts also should be analysed when all is said or done. There is very little about the show or even the book that is accidental.

Bradley: It should be obvious to anyone who reads the book, or even flips through it, that this was a very meticulous project. The intent was there, it wasn’t slapped together as a tie-in. It’s very purposeful in its existence.

Frost: Yeah, it was a piece of work that I wanted to be able to stand on its own two feet. It obviously draws on a lot of material from the show, but for me it needed to be its own thing as well and that certainly was my goal.

9 of the Worst Gifts in Fiction

Bad gifts happen to all of us — especially come December. They range from the innocently unwanted, like an ugly sweater, to the flat-out insulting, like an unasked for pair of Spanx. That’s the interesting part about gifts: for good or for ill, they make a statement about the relationship between the two gift-giving parties. Take East of Eden by John Steinbeck. At the beginning of this sweeping family saga, Cyrus Trask prefers his son Adam’s last-minute birthday gift, a stray puppy, over the heartfelt, hard-earned knife he gets from his son Charles. This incident is the last straw in the steadily decaying Trask brothers relationship. (Although, really, who wouldn’t prefer a puppy to a knife?) If you’re thinking that life-long hatred for your brother is an overblown reaction to an ill-recieved birthday present, let me assure you that’s just the beginning. Fiction can magnify an object’s resonance, allowing bad gifts to get awesomely destructive. From a single coveted necklace, Maupassant’s protagonist in “La Parure” ends up in complete financial ruin. Frodo Baggins gets a ring from his cousin Bilbo and suddenly he’s fighting an evil army in an attempt to save Middle-Earth.

Just how bad can these bad gifts can get? Read on for cursed necklaces, burdensome time-turners, unusable hair combs, and more truly terrible gifts that will make you feel better about getting your third Elf on the Shelf this holiday season.

1. The Stray Puppy in East of Eden by John Steinbeck

East of Eden contains some epic conflicts, starting with the sibling rivalry of Charles and Adam Trask. Their father, Cyrus Trask, overtly prefers Adam even though it is Charles who seems to love his father more. The boys envy and dislike comes to a head at Cyrus’ birthday when Cyrus prefers his son Adam’s gift — a stray puppy that Adam found — over Charles’ more thoughtful gift, a knife that he worked hard to afford. And thus the poor puppy becomes a puppet in the dysfunctional Trask family saga.

2. Sauron’s Ring in The Lord of the Rings by J.R.R. Tolkien

In the opening to Tolkien’s Lord of the Rings trilogy, Bilbo Baggins gives his cousin Frodo a gift — then conveniently disappears before anyone realizes its significance. The gift is the famed ring of Sauron, which corrupts the wearer, and which the Dark Lord will do anything to get back. Frodo must embark on a dangerous mission to destroy the ring in Mount Doom, which is definitely the most intense return policy of all time.

3. The Haircombs and Watch Fob in ‘The Gift of the Magi’ by O.Henry

Written in 1905, “The Gift of the Magi” is O.Henry’s popular tale of Jim and Della Young, a poor married couple who want to buy each other Christmas presents, only they don’t have any money. The cash-poor couple does own two valuable objects: Della has long, beautiful hair, and Jim owns his father’s gold pocket watch. In a stellar use of dramatic irony, Della sells her hair to buy Jim a fob chain for his watch while Jim sells the watch to buy Della hair combs, rendering both presents useless. O.Henry ends the story by emphasizing that it’s the Young’s love for each other which is important, but as far as the actual gifts go, I think we can agree these are an epic fail.

4. The Time Turner in Harry Potter and the Prisoner of Azkaban by J.K. Rowling

In the third novel in the Harry Potter series, Dumbledore gives Hermione a Time-Turner, a device that allows her to take extra classes at Hogwarts by going back in time. This sounds great until you realize that Dumbledore gives an adolescent girl a gift which, if used incorrectly, has the power to completely mess up the universe. And in fact the Time-Turner becomes more of a burden than a help when Dumbledore tells Hermione that she has to use it to save the world from Voldemort. No pressure.

5. The Necklace in ‘La Parure’ by Guy de Maupassant

The protagonist of Guy De Maupassant’s cautionary tale of greed is Madame Mathilde Loisel, a poor woman who has always envied the wealthy and aspired to be rich. When Madame Loisel gets an invitation to attend a fancy party at the Ministry of Education, she convinces her husband to use his savings to buy her a new dress for the occasion. The dress isn’t enough to satisfy her, so she visits her wealthy friend Madame Forestier, who gives her a necklace to wear for the evening. Madame Loisel loses the necklace at the party and she and her husband go broke trying to replace it. Years later, Madame Loisel runs into Madame Forestier and learns that the necklace was a fake — she and her husband went into financial ruin over a piece of plaster and her superficial ambitions.

6. The Birthday Cake in The Hours by Michael Cunningham

One of the three narratives in Cunningham’s Pulitzer Prize-winning novel belongs to Laura Brown, a housewife in suburban California in 1949. Laura is baking her son a cake for his birthday, and it becomes the final straw in her mental breakdown. The homemade gift for her little boy becomes an emblem of her life; she feels simultaneously inadequate at executing the project, disgusted by its conventionality, and trapped by her family’s expectations. If her son knew that the cake would lead to his mother’s attempted suicide, I’m sure he’d have settled for Carvel.

7. The Moonstone in The Moonstone by Wilkie Collins

At her eighteenth birthday party in a huge country mansion, Rachel Verinder receives the Moonstone, a yellow diamond that was looted from an Indian temple. Before she can even ask — Do these cursed diamonds go with this dress? — the stone is stolen. The resulting story, which T.S. Eliot called the first modern English detective novel, intertwines a whodunit with the history of colonialism in India.

8. Marcus’ Ear in Ways to Disappear by Idra Novey

When Emma Neufeld goes to Brazil, it’s as much to get out of her own staid life as to search for Beatriz Yagoda, the fiction writer whose work Emma has translated for years, and who has suddenly gone missing. Things get interesting for Emma, who enters into a hot affair with Beatriz’s son Marcus, only to receive a terrible “gift” left for her in an orange box at the front desk of her hotel: Marcus’ ear, sent by kidnappers demanding payment for Beatriz’ debt. “Within the bag was a blood-crusted ear she had licked so recently she could still taste it on her tongue.”

9. The Postcard in A Wild Sheep Chase by Haruki Murakami

Once you give someone a gift, you can’t be held responsible for how they use it, as evidenced by the many Amazon gift cards I’ve used to purchase paper towels. In the third book in Murakami’s “Trilogy of the Rat,” a chain-smoking advertising executive receives a postcard from an old friend. The narrator likes the card’s pastoral scene but, instead of smartly sticking the postcard on his fridge, he appropriates the image and uses it in an ad campaign. The image contains a sheep with a star shaped birthmark which triggers a call from a shadowy man called The Boss, who tells the narrator he has two months to find the sheep or his life will be ruined.

Prayer Is a Form of Acting

This week, we published new poems by Mark Yakich. Here’s a conversation about his work with poetry editor Ed Skoog.

Hi Mark! I’m interested in what thread, if any, runs through these Spiritual Exercise poems that also runs through your other books, not only the collections of poetry but also Poetry: A Survivor’s Guide and the post-Katrina chapbook Green Zone: New Orleans?

For both Poetry: A Survivor’s Guide and Spiritual Exercises I’ve been interested in subverting accepted ideas. In the former, I’ve been disappointed in the poetry guides I’ve tried to read and use over the years. They always seem to be condescending or else puerile or simply an obstacle for me in reading and writing poems. I’ve regularly felt like John Irving’s Garp: “what others often find serious, I find silly, and what others often find silly, I find serious.”

How so?

In the case of Spiritual Exercises, I’m reconsidering what it means to be spiritual, what it means to pray or be reverent. For me, being irreverent involves a much deeper understanding of reverence. It’s like satire: how does one really fathom something? One makes fun of it in a serious way. Because in order to make fun of it (e.g. Jon Stewart style) one has to understand how it works, how it’s structured, and what’s truly at stake.

You say, “For me, being irreverent involves a much deeper understanding of reverence.” Which came first for you?

I don’t think I can parse out which — reverence or irreverence — came first for me. That is, they’ve always seemed inextricably linked. When I was a small boy, I continually questioned why things were the way they were. How come I had to learn math, for example, even if I liked it and was pretty good at it. But then there was traditional religion, which has always mystified me. My mom was Protestant and my dad was Catholic so often we had to go to both mass and service on Sunday mornings, or we went to neither — as though they would cancel each other out anyway. The point is, there were so many rules, especially on the Catholic side, that bored me and that felt arbitrary. I particularly recall having to make up the number of sins at confession and not confessing to what I thought were unforgivable sins, like masturbation which I didn’t even have a word for at twelve years old. Now, of course, I have a deep reverence for masturbation even if after that act I feel much sadder and more pathetic to be a human being.

I understand that the Stanislavski methods in “An Actor Prepares” are largely inspired by the Spiritual Exercises, which he knew well from growing up in the church. But they seem at odds, the private and spiritual vs. the public and expressive. Perhaps something similar obtains in comparison with poetry?

I didn’t know that Spiritual Exercises inspired Stanislavski — grand! And looking into it, I found Liam Neeson was re-inspired in his acting and his faith by the same. Neeson even says that “acting is a form of prayer,” which I can certainly agree with, and would add that “prayer is a form of acting.” Prayer, or if one prefers “spiritual exercise,” comes in a variety of forms — and is almost always in forms. That connection to poems, for me, has been — dare I say it — revelatory. To quote myself from my recent book Poetry: A Survivor’s Guide: “Poetry is a form of prayer. Though most poets don’t know to whom or for what they are praying.” Which sounds like a slight, but in fact is just a reminder that sometimes it’s okay not to know what you are praying for — that is, the act of praying is valuable, soothing, and perhaps itself enough.

As far as private/spiritual vs. public/expressive, I get your intent — how can acting, something very public, also be something spiritual which seems very individualistic? But I don’t find the two mutually exclusive. One can, for example, sing a spiritual by oneself, say in the shower, but then later also sing it with others at church. That said, I have often found praying in church very uncomfortable — kneeling there “making a pretense out of reverence before others” as I say in an essay about the shower as my most sacred space.

I Thought More People Would Freak Out and Run Away

This month, we published weekly comics by the hilarious Joey Alison Sayers. Today, she answers a few questions for comics editor Sara Lautman.

You are a humorist. Was that part of the plan from the beginning? A more specific question: did you come to drawing by way of writing, or writing by way of drawing?

I’ve been drawing comics off and on since I was a kid. The first strip I did, when I was 7 years old, was a humor strip called “Play on Words” aka POW. My father co-authored it and it was very popular in my family, but no one else ever saw it. I’ve always written and done other creative things like playing music and occasionally writing poetry, but comics have always been my most consistent medium. Even when I write poetry it tends to be humorous. It’s not that I can’t be serious — I’ve written some pretty miserable and sad poetry thanks to a lifelong struggle with depression — but humor is more fun.

I’ve always veered toward humor in art and life. I guess I would have been a class clown if I hadn’t been so shy. That’s a pretty good recipe for a cartoonist, really: funny and shy. When I got serious about comics about fifteen years ago, doing funny stuff just seemed like the natural place to go. Even when I’ve done more serious, personal comics, like my autobio book Just So You Know, I told the story though a lens of humor.

Just So You Know is so great. I loved that one where your co-worker is talking about getting her period.

The title Just So You Know sounds tongue-in-cheek, like a sexual health brochure, but it really does serve the purpose that it’s maybe making fun of — making very specific emotional and social experiences accessible to anybody reading it.

Was Just So You Know conceived with that in mind — as a way to expedite your coming out story? It seems like the jokiness of the title, but also the warmth of it, suggests in a gentle way that the social practice of coming out is not quite fair. (The personal practice of coming out to oneself, of course, is an entirely different thing.)

The title Just So You Know wasn’t meant to sound like a sexual health brochure, but if I ever redesign the covers I’m definitely going to design them to look that way! The title was meant to convey this sort of breeziness about the subject matter that it didn’t really deserve. Like, “FYI, I’m trans, no biggie”. Whereas it was a pretty big biggie to myself, of course, and my family and friends. But the irony is that my coming out to acquaintances and strangers was actually pretty low-key. I had my share of stares and names and weird reactions, for sure, but I had a lot more support and understanding. I live in the San Francisco Bay Area, so I’m sure that had something to do with it. But back to the book itself, I really was trying to show the lighter side of upending my life. Lots of trans memoirs deal with the pain and the struggle — which are very real — and I wanted to present the process of transition through the humorous moments. I think that resonated with a lot of people — both trans and cis. And it did provide a quick way to come out to people that I didn’t want to have that whole exhausting conversation with.

Did your community react to JSYK in any ways that were satisfying or disappointing or surprising? Was anticipating a response even part of the story, or was the reception just like, of course Joey made comics about this, she’s a cartoonist.

My comics community was extremely supportive. I got a lot of encouragement after I drew the first volume to continue it in a second one. The cartoonists I know are excited to read new stories and new perspectives. The comics community was pretty supportive of my transition, too. Overall, I was surprised by the support of everyone in my community. I transitioned ten years ago. It wasn’t as common of a thing. Trans people weren’t all over the internet and TV to the extent they are now. I thought more people would freak out and run away, but in truth I only lost one or two friends.

What were your favorite newspaper comic strips as a kid? Did you read serialized comics or collections of cartoons?

Oh, I read pretty much every strip when I was a kid. Even the soap opera ones, but I didn’t have the slightest idea what those were about. But my favorites were Peanuts and Garfield when I was really young. As I got older and more sophisticated, I discovered Calvin and Hobbes and The Far Side. And I loved the collections. Oh man, I’d read Garfield collections over and over. Also, when I was a kid, a friend of my dad’s visited Australia and brought me back all these collections of newspaper strips from there. They were incredible and so exotic to my little brain. I got super into this strip called Footrot Flats. It was about these farmers and their animals in the Outback and I understood probably 25% of the jokes because of the cultural differences. But I loved it just the same. It was like an alternate universe with all these jokes and strips that somehow existed without my knowledge.

And my love of comic strips has never really waned. As I got older, I got into Bizarro, and some of the snarkier strips. Then in high school I found Matt Groening’s Life in Hell. But it was when I discovered Lynda Barry’s comics, and This Modern World, and Tom the Dancing Bug, and all those cool, weird strips in alternative newsweeklies that the seed was planted in my brain that a handful of years later would grow into my desire to do a weekly strip. And that’s when I started Thingpart, my weekly strip that ran for a few years in a small handful of newsweeklies around the US and abroad. Unfortunately, I got into the newspaper comic business right around the time that the newsweeklies were cutting content and consolidating, and generally dropping comics altogether. That was the dark punchline to my first attempt to make it as a cartoonist. Fortunately, though, that didn’t deter me and I figured out how to put comics on the internet and now I’m (not remotely) rich and (a tiny bit) famous!