How do you pursue a writing career in Trump’s America without hating yourself?

The Blunt Instrument is an advice column for writers. If you need tough advice for a writing problem, send your question to blunt@electricliterature.com.

Dear Blunt Instrument,

So maybe — occasionally enough to get a little bit done, at least — I can convince myself of the value of the act of writing fiction in these turbulent, scary, demoralizing times. And I’m sure there are many inspirational thinkpieces out there I can turn to that will remind me of the healing/confrontational/revolutionary power of literature in and of itself.

But how do I proceed with the purely selfish pursuit of my “career”? I was deep into talks with agents about my novel just before the election and now I’m at a loss. I feel like an asshole for email-nagging people to continue our professional correspondence when they are probably personally overwhelmed with grief over the future of the country.

It’s a grief I share, to be certain, but it doesn’t stop me from selfishly fretting that the cultural shift engendered by the election has rendered my manuscript irrelevant or from worrying that I’ve alienated potential champions of my work by going about business as usual when the fallout of Trump’s win gets direr by the day.

I suppose this all relates to the larger question of how to balance everyday personal life stuff with a broader concern for the world at large, but it feels especially tricky to me in the context of the publishing industry. Is my ambition a form of self-care or is it just apolitical careerism?

Sincerely,

Nasty Novelist

Dear NN,

I follow a lot of writers on Twitter. You may feel like an asshole admitting to these feelings, even anonymously. But rest assured that you’re not the only writer voicing these types of (possibly selfish, possibly petty) concerns: that our works-in-progress are now largely irrelevant, that no one is paying attention to our just-released books, that we’re massively distracted and can’t get back to writing, that frankly we can’t even read (anything but the news).

Your question is a little particular (how to keep up the hustle to publish a completed novel) but I’d like to provide an answer that speaks to artists broadly, wherever they’re at in their careers and whatever problems of art they’re struggling with.

I don’t want you to give up, but there’s room for your outlook to change; I don’t think you should necessarily “go about business as usual.” Below are six guiding principles that I hope will help you and other artists keep working, for as long as we can:

1. Art still matters.

You seem, if not entirely convinced, at least willing to be convinced that yes, art and literature matter even in the new nightmare hell reality. In fact right now a lot of us are looking specifically to art that was created in equally scary or scarier times, for clarity and understanding. (For most of November, I was only interested in reading fiction and nonfiction about World War II and the Holocaust — but I could only take them in small doses.)

We now have the bleak but important opportunity to create the art that people in the future will look to when society/humanity seems again to be on the brink of collapse. (Toni Morrison: “We speak, we write, we do language. That is how civilizations heal.”) Let’s just hope that we and/or some of our art make it to that future. Some people will tell you we obviously will, some people will tell you we obviously won’t, but the truth is, we don’t know and anything could happen.

But we don’t just need “relevant,” overtly political art. We need all kinds of art, including pop music and comics. We need mysteries and YA. We need breaks from the onslaught, we need occasional comfort, in whatever form that takes. So don’t discount your art just because it doesn’t have obvious political relevance. Anything you create from this point on will have unconscious relevance at the very least.

2. Humans need pleasure.

In a symposium on jokes from a 2015 issue of the Threepenny Review, Adam Phillips writes:

Freud was in the tradition of writers who want to persuade us that our capacity for pleasure is the best thing about us — that life is worth having because there are things in it which we enjoy. It is in some ways a strange idea, but one that seems, perhaps unsurprisingly, to have a lot of staying power. Jokes, Freud intimates, like all our other favorite pleasures, keep us going. We don’t want to imagine our amusement coming to an end.

I could take or leave Freud, but I do find this idea powerful. Even in happier (for us) times, life contained a lot of pain. When we’re suffering, moments of pleasure remind us that we owe it to our future selves to stay alive so they can experience more of that pleasure. (Survivors of attempted suicide overwhelmingly say, at later points, that they are glad they weren’t successful. I find it to be one of the most compelling arguments against suicide.)

When we’re suffering, moments of pleasure remind us that we owe it to our future selves to stay alive so they can experience more of that pleasure.

Without moments of happiness, without the hope of future happiness, why do anything? Why fight for anything? Even if you’re deeply committed to resistance: We need to read for pleasure, eat for pleasure, have sex for pleasure, and as artists we may need to write for pleasure. Complete immersion in my work is one of the few times I’ve felt “happy” recently — happiness as loss of awareness of time and the outside world.

Humans find pleasure in the direst circumstances; there was laughter in concentration camps. We’re not there yet. I like that our founding fathers called “the pursuit of happiness” an inalienable right — more so, or rather, than happiness itself. No one deserves constant pleasure, but you deserve a little.

3. You can make time for both art and activism.

As you said yourself, “this all relates to the larger question of how to balance everyday personal life stuff with a broader concern for the world at large.” I tend to think that most of us are only capable of small, local action. A lot of very small decisions add up to larger consequences; that’s exactly how voting works. (And it will work again, if, in two to four years, we still have legitimate elections.)

So make time for the world at large. Pay attention to what’s going on, and contribute where you can, whether it’s with time, money, or attention. Your resources will vary. Things may take a little longer when it comes to your career. This is a time of crisis. Accept it. There’s no deadline for writing a great book.

4. Have patience with your editors.

Everyone I know is overwhelmed right now. Any agents or editors you were working with or waiting on are probably overwhelmed. It’s possible their jobs or funding are or will soon be on the line. So try to be patient with them. Be as kind, understanding, and generous as you can. Parlay your moments of selfishness into empathy: If you’re frustrated and anxious they probably are too.

Parlay your moments of selfishness into empathy: If you’re frustrated and anxious they probably are too.

Of course, if you’re an editor, or an agent, the same goes for you: Try to be patient with writers.

5. Allow your priorities and concerns to change.

If your novel is still important to you, then try to get it published. There are publishers out there that still want to exist, and they need good books to publish so they can keep existing.

When it comes time to write again, write what feels important now, not what felt important six months ago. For many people I know, that’s changed. You don’t have to stick to your five-year plan. You don’t even have to write for a while; not writing is part of writing.

6. Your work is your career.

As a final note, remember that your work is your career — not some totally separate entity. Artistic careers can be meaningful without booming financial or even critical “success.” (The whole concept of “careers” outside of work is one I find inherently odious and oppressive, but that’s a topic for another day.)

Of course, you can and naturally will pursue success as you would happiness — I once read that some Buddhist text claims even reclusive cave monks “have the desire to be known the world over as the most reclusive of cave monks.” But I do think at this moment in history, individual ambition should come second to collective ambition — the future of humanity is literally at stake. We must make art, find pleasure, and resist evil too. Everyone has to find their own livable balance; I suppose the best advice I can offer in that regard is to act in a considered fashion, so as to minimize personal regret and collateral damage. The fact that you’re asking these questions at all proves you care about consequences.

So: Keep working, with empathy and integrity, and take care of yourself and others.

— The Blunt Instrument

What You Were Looking for in the First Place: Stacy Schiff on the Writing Process

The following remarks were presented by Stacy Schiff at the 2016 The Whiting Creative Nonfiction Grant celebration. Each year, The Whiting Foundation presents writers of “deeply researched and imaginatively composed nonfiction” grants of $35,000 to complete their work. You can read about the 2016 winners here.

If you have ever written a book, or edited one, or lived in proximity of anyone who has — which is to say, if you are standing in this room — you know there are three perfectly distinct phases to the process. There is the misery of beginning, the misery of the middle, and the misery of the end. There is of course also the misery of having finished, but let’s leave that a secret among us for now. Hemingway may have summed up all this merriment best in a different context: As he put it, or is said to have put it: “When you start out writing, it’s fun for you and hell on the reader. By the end, it’s hell for you and fun for the reader.”

There is the misery of beginning, the misery of the middle, and the misery of the end. There is of course also the misery of having finished, but let’s leave that a secret among us for now.

I think we can agree that the most exquisite torture is of the nearly-but-not-quite-there variety. By definition, your advance is now depleted. The patience of your family and friends is as well. And so, for that matter, are you. Your deadline is very likely also trailing somewhere behind you. You all know Douglas Adams’s formulation: “I love deadlines. I like the whooshing sound they make as they fly by.”

Somewhere around the midpoint of any manuscript — a point that by no means identifies itself as such at the time, any more than did the Middle Ages — you hit up against the Zeno’s paradox of writing. You can’t seem to get there from here; the end slips irretrievably out of sight. As with exile, or nostalgia, or unrequited love, you find yourself engaged with a place you cannot reach. Every runner knows that last lap to be not only a lap, but an eternity. Along the sidelines everyone is saying finish strong, finish hard, you’re nearly there, and of course you ARE almost there. You’re not asking anything you didn’t ask of yourself 2600 meters or 300 pages earlier, except that now everything is more difficult, really just narrowly possible. In defiance of the laws of physics, you have not built up momentum. You have built up drag. And debt. And pesky unanswered questions.

For whatever reason I had my most acute case of this in writing about Ben Franklin’s years in France. The finish line regularly receded, as the material expanded out from under me. I would calculate that I needed two more weeks to finish a chapter only to find three weeks later that I needed another four. For once in my life, I had more to say than I thought I did. The family joke became that it was taking me longer to return Franklin to Philadelphia than it had taken Franklin, sailing against the wind and on an 18th century ship.

As I see it, there are two particular complications with a book of creative nonfiction, the first being that you’re attempting something original. Which means you don’t yet know what you’re going to find or — God forbid — what you’re going to think. The time for those revelations does not figure in a publishing contract, founded on a convenient fallacy: Editor and writer having agreed on who their unborn child is going to be when he grows up. For the Franklin book I had moved our family to France, so as to work in the archives of the Ministry of Foreign Affairs. The problem came not with the endless material, all of it handwritten, some of it moldy, parts of it not yet decoded. Or with the fact that France being France, you could order up no more than five files at a time. Or with the pleasures of reading 18th century lengthy reports dashed off at high speed, at Versailles, by candlelight, on microfilm. The problem came with the fact that our stay coincided with a presidential election season, which meant that for weeks, on whatever days suited them, the archivists walked out on strike.

The time for those revelations does not figure in a publishing contract, founded on a convenient fallacy: Editor and writer having agreed on who their unborn child is going to be when he grows up.

These are the extended-attention-span books, the long-incubators, the slow-cookers, in part because of such surprises along the way. Only after I had signed on to write a life of Véra Nabokov did I discover that the Nabokov papers, meant to be at the New York Public Library,where they reside today, were then still in the basement of the Nabokovs’ son in Switzerland. Which is to say that the months I had expected to spend on 42nd Street I instead spent on Lake Geneva, considerably less convenient and incomparably more expensive. Another surprise: Dmitri Nabokov liked to eat out. He liked to eat out a lot. And he especially liked for me to pick up the check. (Thank you, Random House.) Then there was the afternoon when Dmitri asked if I might go pants shopping with him. I demurred; I had too much to do in the archive. Each minute mattered; every time I breathed in Switzerland I felt I could see my advance evaporating in the silvery air. Sullenly, pointedly, Dmitri said: “My mother would have gone pants shopping with me.” Off we went.

Here’s another clue as to why these things take so long. I was well into the Nabokov project when a manila envelope arrived, the response to my Freedom of Information request for the couple’s FBI files. I tore it open to read: “Subject entered Macy’s and headed to the book department. He spent some time walking around the displays. Finally bought a copy of Wind, Sand, and Stars.” Saint-Exupéry had been the subject of my first book; one always feels a little proprietary toward one’s subject, even if he is only one’s ex-subject. I was deeply touched that Nabokov was reading Saint-Exupéry. That was the first thought. The second was: Vladimir Nabokov in Macy’s? This was of course not the Nabokov file. It was one of several I had requested for Saint-Exupéry six years earlier, for a book long since published. Do not ask me why Saint-Exupéry bought a copy of his own book. But admit it: You’ve done it too.

How time-intensive is this work? Here is the first line of Véra: “Véra Nabokov neither wrote her memoirs nor considered doing so.” Those ten words represent three years in the archives.

“Véra Nabokov neither wrote her memoirs nor considered doing so.” Those ten words represent three years in the archives.

And then, of course, the second complication: It’s all in the endgame. The bulk of the value comes in that final effort, those late-day tweaks, additions, epiphanies. They’re what make a good book a great one, a well-written one a gem. The excruciating final minutes of any workout are said to be the ones that matter, except that in this sport they last months if not years. You really can’t finish unless: You’ve read all of Cotton Mather’s library. You wrestle once again with that stubbornly uncooperative source. You learn how to fly an aircraft last flown in 1937. You polish your first paragraph for the 200th time. You rewrite the entire manuscript, cutting the boring parts. Because of course only at the end do you at last figure out what you were looking for in the first place.

Stacy Schiff is the author of, among other books, Cleopatra: A Life, and The Witches: Salem, 1692, both published by Little, Brown

Secrets and Lies of Second-Generation Americans

Stories of the second-generation American experience have become infinitely more complex. No longer are characters just caught between two monolithic cultures: the foreign and the American. As the world has becomes more globally connected and as identities become ever more fractured, the new second-generation American is a clever, survivalist animal forced to navigate a Frankenstein-like culture that has its own logic-less logic. Vanessa Hua’s debut collection Deceit and Other Possibilities explores the unusual compromises Asian Americans must make to confront both the expectations foisted upon them and perhaps more dangerously, their own expectations in an America that seems to make less sense with each passing day.

As the title hints, often these compromises take the form of lies — characters lying to others and lying to themselves. In the story “The Responsibility of Deceit,” Calvin is a dutiful son of Chinese immigrants, an engineer, the pride of his middle class parents in Northern California. The only catch is the inconvenient truth that he is dating Peter, a white friend from college. Though Calvin’s parents live in the liberal Bay Area, they retain the traditional and conservative values of their generation and their home country. When they see footage of an Asian/Pacific Islander group at a Gay Pride parade on an evening newscast, Calvin’s parents dismiss them, pointing out that the marchers are Thai and Filipino, not Chinese. Calvin explains the lengths to which the entire family goes to dismiss the possibility that Calvin is gay.

“My parents adhered to strict Chinese traditions that we learned to circumvent. Over the years, we shared the responsibility of deceit, the big and little secrets that oiled the machinery of family expectations.”

Calvin’s assertion that hiding his sexuality is, in fact, far more than just an individual’s act of keeping a secret, is one of the central themes of Hua’s collection. The American immigrant experience in Deceit and Other Possibilities is a complex machine — a bureaucracy — that many individuals keep running by telling lies big and small. It is a spiritually exhausting work that requires a cleverness that white Americans simply do not need to develop.

For Elaine Park, the protagonist of “Accepted,” bureaucracy is exactly what allows her to tell her church group that she was accepted to Stanford University when she, in fact, was not. She lies that another Elaine Park was rejected, not her. This story is ripped from the headlines. In 2007, an 18-year-old from Orange County named Azia Kim moved into the Stanford dorms, made friends, found roommates, and pretended to be a sophomore biology major for eight months before finally getting caught. She’s one of several recent high-schoolers who felt so much parental pressure to make it into an elite college that they engaged in elaborate hoaxes. (Feel free to Google: Jung Yoon Kim or Jennifer Pan).

Elaine follows through with her big lie, showing up at campus and talking a freshman into letting her crash in her dorm. For an entire semester, she pretends to be enrolled, going as far as to fake her transcripts.

“That’s when it hit me: an unofficial transcript was easy to fake, without requiring a watermark or school seal, Courier font in Microsoft Word. With it, I’d apply for the ROTC honor roll. I’d never become Dr. Kim, but with a resume listing my honors and awards, I’d get an internship, and later on, a job to support my parents. Weren’t tech startups full of dropouts? I hit delete and dropped my A to a B+ in Hum Bio. It didn’t seem fair to give myself an F for a class I wasn’t enrolled in. I decided the grades should reflect my efforts and no one, knowing the lengths I’d gone to, could question mine.”

The lengths she goes to fulfill the rarefied expectations of her parents is an example of the specifically Asian mutation of the second-generation American experience. Honesty and the happiness of the children are valued less than the material emblems of success that the family and community can take pride in.

The most conventional story in Hua’s collection is also the strongest one. In “Harte Lake,” Anna mourns the sudden death of her husband, Ken, by doing a difficult hike in Yosemite alone, a hike they had planned to do together. She runs into bad weather, gets lost, and soon, her life is in danger. As she struggles to survive, she continues to mourn Ken, diving deep into recollections about their marriage, his infidelity, and the compromises she made for their union. In this touching passage, she recalls the wilderness survival checklist that she and her husband had run through when he was alive:

“She and Ken had gone over what to do in case of emergency…Broken leg? Get the victim back to the tent, keep them warm and elevate the leg. Run like hell for help. And even, what to do in a snowstorm? Stay put, stay dry. Zip the sleeping bags together for warmth.

In each of the scenarios, Anna now realized, the plan involved both of them.”

Previously a reporter for the San Francisco Chronicle, Hua’s journalistic background comes through in her work. The strongest stories feel like the best news features, such as “What We Have Is What We Need,” the only piece in the collection to star non-Asian characters (the protagonists are an illegal immigrant family from Mexico).

A few stories, such as “Line, Please,” about an American-born Chinese man who returns to Hong Kong and becomes a Cantopop star, have exciting and original premises, but end up feeling overstuffed and unresolved. Overall, the collection is a strong representation of Hua’s eye for the most complicated aspects of the second-generation American experience, one that goes well beyond the buzzwords of identity politics and inflammatory headlines of the day.

The Growing Legend of Shirley Jackson

December 14th marks the 100th anniversary of Shirley Jackson’s birth, which means Ruth Franklin’s new biography — Shirley Jackson: A Rather Haunted Life — couldn’t come at a more appropriate time. Jackson is arguably one of the most underrated writers of the 20th century, with “The Lottery” casting a long shadow over the rest of her superlative work. But in a conversation with Doug Gordon for To The Best of Our Knowledge — which is airing a special on the author’s life and legacy — Franklin makes a solid case for Jackson’s place in the cultural canon. As Franklin argues in her book, Jackson’s body of work channeled her era’s anxieties and represents “nothing less than the secret history of American women of her era.” What follows is a condensed and edited version of their conversation. You can find their full discussion, plus more on Shirley Jackson here.

Doug Gordon: Jackson had a heart attack and died in her sleep on August 8th, 1965. She was only 48. It’s one hundred years since she was born, in 1916. Why does Shirley Jackson’s fiction still matter?

Ruth Franklin: I think in some ways, Jackson’s fiction has always been in the background of our culture. There’s “The Lottery,” of course, which is a formative story for so many people. But The Haunting of Hill House and We Have Always Lived in the Castle are also very well-known, especially by writers. Those books have been very influential, not just on Stephen King, but on many other writers, including Neil Gaiman. Jonathan Lethem has referred to them and many other writers of a younger generation. So I think that the stories Jackson’s telling have somehow always been a part of our cultural history, and it’s only now that they’re starting to be recognized and given their due.

Gordon: I’m curious about how well you think Jackson’s fiction holds up today. Do you see any resonances between what she was writing about then, back in the 1940s and 1950s, and our current culture?

Franklin: Definitely. A lot of the circumstance for women have changed obviously. You know, it’s no longer a terrible thing to be a woman of 30 and unmarried, for instance, as it was in the story Jackson wrote, “The Daemon Lover,” about a woman of a certain age who is waiting for her fiancé to arrive. But while the subject matter of these stories isn’t as relevant to our current moment, her style and mood I think are still very, very accessible to readers today. Especially the ambiguity that was her trademark.

…As I began reading more and more deeply into Jackson’s work, I noticed that her characters are almost always women. You can count the male protagonists in her work literally on one hand. So she’s very, very focused on telling the stories of women. And they tend to be women on the margins in some way or other — working women in New York, career girls who are suffering the isolation of not having been married yet. Or women who have just been transplanted from the city to the suburbs and also don’t quite fit in among their neighbors. And it struck me that the stories Jackson was telling about these women who were uncomfortable in their skins and in the roles that they were being forced to play in society formed a kind of counterpart to what The Feminine Mystique describes as the attitude of the happy housewife that women were meant to embrace in those years. So I came to see it as a strong kind of counter narrative to what had been the mainstream story about American women.

Gordon: You mentioned Betty Friedan’s famous work. And you actually argue that Shirley Jackson’s portraits of “split women” predicts Friedan’s description of the 1950s housewife as a virtual schizophrenic.

Franklin: That’s right. Jackson depicts a number of women who suffer from different kinds of mental disintegration. One is a college student who develops something like schizophrenia, although it’s never exactly described as that, due to the pressure of her family’s expectations, her professors’ expectations, when she goes off to college.

Gordon: Hangsaman, right?

Franklin: Hangsaman, yes. Her third novel is called The Bird’s Nest and it’s actually about a woman with multiple personality disorder, written in the early ’50s at a time when that diagnosis was newly popular. And you know I read it as a kind of metaphor for what was going on in society when these women’s magazines ran a lot of stories arguing that you could be a housewife but you didn’t have to feel like you were just a housewife because you were also a cook and a nurse, a teacher and all the other roles that go into being a housewife and a mother. The stringency with which they promoted this idea suggests that their audience maybe didn’t find it so easy to swallow.

Gordon: And I’m guessing that it’s safe to say Shirley Jackson saw herself as one of these split women that she was writing about.

Franklin: I definitely would say so. I mean, you can see that split when she talks about herself as, you know, on the one hand, a housewife, and then, on the other, a writer. And then of course the other component of her personality was that she also spoke of herself as a witch. You know, as somebody who not only studied witchcraft, she also had a vast library of historical volumes related to witchcraft and to the occult. But also, as you know, she talked about herself as somebody who at times practiced witchcraft. And I see this as another kind of subversive aspect of her persona, another way in which she rebelled against the mainstream.

Gordon: The witchcraft though — some people, some critics have read too much into that because she was interested in witchcraft but she was kind of playing it up for publicity, like when she was talking to reporters. Isn’t that fair to say?

Franklin: Sure. Well, she loved to tell stories about her exploits and reporters just ate it up. There’s one line that went around about her. One reporter said she wrote not with a pen but with a broomstick, which was repeated over and over in articles and reviews of her work. She loved to tell another story about how she had supposedly broken the leg of publisher Alfred Knopf while he was in Vermont on a skiing trip.

Gordon: That was reported as fact and in future interviews, reporters would ask her about that?

Franklin: Exactly. He happened to be in a contract dispute with her husband at the time so there was a motive certainly. She liked to joke that she had to wait for him to go skiing in Vermont because she couldn’t practice witchcraft across state lines.

Gordon: That’s great. A great example of her sense of humor.

Franklin: Exactly.

Gordon: What kind of interest did Jackson have in witchcraft?

Franklin: I believe that she saw it as a way of channeling female power, as it always has traditionally been for women who feel themselves to be powerless. You know, she read it as she used to read tarot cards. I don’t believe she literally saw that as a way of telling the future, so much as simply a method of telling stories about people’s lives. And witchcraft also, you know, I think can be read mostly as a metaphor.

Gordon: That’s interesting. I was surprised to learn just how poorly Shirley Jackson’s mother, Geraldine, treated her, even when Shirley was an adult. Can you tell me a bit about their relationship?

Franklin: It seems like from the very beginning Shirley wasn’t the kind of daughter her mother had hoped to have. Her mother was a socialite from San Francisco and hobnobbed among the city’s elite. And Jackson really resisted her mother’s attempts to mold her into the kind of debutante that her mother wanted her to be. There’s actually a wonderful document in her archive — a childhood diary I found on a pad of paper that has on its cover the picture of a very demure, proper young lady with curls in her hair and pearls. And the title of the picture written underneath is “The Debutante.” And someone — I’m assuming that it might have been the teenage Shirley — had taken a pencil and scratched very heavily out the woman’s face. And to me that says so much about what Shirley’s feelings were about her mother trying to make her fit into this mold that she just didn’t belong into at all.

And so this difficult relationship actually continued for the rest of Shirley’s life, well into adulthood. Even though her mother lived in California and by that time, Shirley and her family were living in the Northeast in New York City and then in Vermont. Her mother would send her these simply poisonous letters of criticism, criticism of her looks and of her weight and of her work, you know criticizing her focus on what her mother called “demented girls,” with very few words of praise. And I think it was very hurtful.

Gordon: Oh, I can imagine it would be. So how did her mother’s poor treatment of her play out in Jackson’s fiction?

Franklin: Well, her fiction is full of kind of evil mother figures. For instance, in The Haunting of Hill House, the main character, Eleanor, is tormented by her memories of having taken care of her mother during a long illness. And her mother has just died when the novel begins and Eleanor has basically been a slave to her for her entire adulthood. And when she gets the chance to come to Hill House and join the paranormal investigation that’s taking place there, it’s really her first moment of freedom from her mother that she’s ever experienced. And yet she’s constantly plagued by nightmares about things that happened while she was taking care of her mother and the demands of their relationship. These relationships are repeated in a number of Shirley’s novels, where there are girls who have very difficult relationship with mothers who torment them in some way or another. Not physically tormenting them but what we would definitely call now psychological abuse.

Gordon: Shirley was finally able to escape her mother when she married Stanley Edgar Hyman. How did Shirley and Hyman meet?

Franklin: They met at Syracuse University where they both were studying English and journalism. The story goes that Stanley Hyman came upon a story by Shirley in a campus literary magazine. And he said the rest of the magazine was trash but when he got to Shirley’s story, he stopped short and declared that he wanted to meet the girl who’d written this story because he was going to marry her.

Gordon: Wow. Jackson’s 1959 novel, The Haunting of Hill House, is considered a classic haunted house story. It was actually nominated for the National Book Award, lost out to Philip Roth’s Goodbye Columbus. And you say that this novel, The Haunting of Hill House, is arguably Shirley Jackson’s best novel and that it’s on par with Henry James’ classic, The Turn of the Screw. Why do you think The Haunting of Hill House is such a great work?

Franklin: Well, for one thing, it is just beautifully written. The prose throughout is just so timeless and restrained but incredibly evocative. But more than that, you know, I think that when horror stories are told well, and you know maybe we’ll say ghost stories because horror has all kinds of other connotations. But when ghost stories are told well, as James does in The Turn of the Screw, they get to really deep reaches psychologically. I feel like the roots of what we fear can tell us so much about what it means to be a human and what goes on at the deepest levels of the human psyche. And what’s particularly brilliant about The Haunting of Hill House, and this is a quality again that it shares with The Turn of the Screw, is that you can never be entirely certain whether the ghosts are meant to be real or we’re meant to read them as a projection of the psyche of Eleanor, the main character. Or maybe you have another character, as well. It’s quite ambiguous.

The roots of what we fear can tell us so much about what it means to be a human and what goes on at the deepest levels of the human psyche.

Gordon: No less a horror authority than Stephen King has said that there are few, if any, descriptive paragraphs in the English language that are any finer than the opening paragraph of “The Haunting of Hill House”:

“No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.”

You say that Jackson’s obsession throughout her life was “the demon in the mind.” Can you explain what you mean?

Franklin: Yeah. Well, I think that she meant different things by this at different points in her life. At some points, she seems to have used it as a reference to depression and the sort of personal demons that tended to pop up when she was feeling particularly insecure. She also I think used it as a metaphor for a more general evil. She talked about, for instance, the demon in men’s minds in the wake of the McCarthy era as, you know, a kind of, just sort of a negative evil force in the universe, sort of like the negative force in “The Lottery,” which simply provokes people into harming one another.

A Thousand Hundred Years

“A Thousand Hundred Years” by Michael Wehunt

“Tu hija te espera.”

Ms. Onwe’s words echoed his dream, for a moment drew it into the dim hallway with him. Jandro hadn’t noticed the tiny old woman just behind her door, cataracts holding the hall light like wet pearls. He must have misheard her. She would have told him in the past year if she knew any Spanish. Even her half-broken English lapsed at times into Mandarin, where her voice stretched out to poetry.

“What do you mean, my daughter is waiting for me?” he said, hearing the angry waver in his voice. She was going soft, but she wouldn’t say something so cruel to a man whose four-year-old child was missing. He’d lived next door to Ms. Onwe since he and Krista fell apart and he became a weekend dad. They always chatted when he passed her open door, and Virginia had loved her. He had far less to say these days, but she liked to fill the new silences with tokens of sympathy — musty Taiwanese books, chipped tea mugs. Jandro was touched that a hoarder would surrender anything to him.

“They are no dreams you have, Mr. Jandro,” the old woman said, her withered face peering up toward his shoulder. “You need my projector. I hear the movies of your daughter through your wall at night. I hear you cry.”

“Movies?” he said. “Your projector?”

She smiled and her white eyes came closer into the light. “No need to see Chun-chieh and Chih-ming travel on my wall any longer.”

Her dead sons, she meant. Presumed dead, anyway. They had been flying home to Taiwan three years ago. The plane had disappeared halfway across the Pacific, but it had never been found, she’d told him many times. Jandro had learned enough for a good rough sketch of her, listening through the chores he helped with. She’d come to the States in the nineties, her husband had been gone almost as long, and her apartment stank of those two packrat decades.

He found himself almost grateful to put Virginia out of his mind for a moment. Almost. His throat clenched for the handle of rye in his coat, the oblivion and the recurring dream of her that followed each day of aimless searching, peering into the corners of Delmar, turning over the same rocks. After the liquor store he’d spent longer than usual at the playground, his sobbing vigil in the clown’s head, pretending two little hands were on the verge of pushing him down the slide. Krista had refused to update him on the police investigation for more than a week now. Her threats of reporting him to Immigration had gained weight. And while Detective Swinson had yet to say the word suspect to Jandro, the implication still hung over his questions, not quite dissipating.

He followed the old woman inside. “I can take it to a pawn shop, if it’s worth something.” She slipped into the deeper shadows, so he waited at the opening to her living room, the silhouettes of her hoard crowding the small space like a cave of strange teeth. “Or give it to Goodwill.”

Preferably the dump, he thought, along with all these sagging things. The place violated every fire code in the book.

“I want you to see it, not store.” Her voice came from somewhere to the right, followed by a sharp click. An orange-brown light fell from a shaded lamp, landing in a smear that hardly cut into the labyrinth of junk.

“Well, we never really had a camera, and Virginia — ” He stopped. Because he couldn’t get the rest out, and because Ms. Onwe was crouched down behind the lamp. Watching him, one milky eye peering around a square bulk that sat on an end table.

Jandro used his feet as antennae, boot toes brushing cardboard boxes and newspapers and humps concealed in garbage bags. She was no longer behind the projector when he reached her. She stood straight as a rail now, closer than he’d thought, her silver-threaded hair turned brass in the lamplight. Her sons smiled out of the shadows from a large photograph on the wall.

“You take,” she whispered, and laid a pruned finger on his hand. He felt the finger bone roll inside the sleeve of loose skin. Her mouth seemed about to spread into an inexplicable grin. He looked away.

The projector was brushed steel, shaped a bit like a trumpeting elephant with reels attached to the trunk and rear. Jandro touched the cool metal, finding the open design beautiful and too honest.

He lifted it. There was a bad moment when it nearly slipped from his arms, because its size and weight reminded him of Virginia when she was a baby. You’re getting heavy, En, he heard himself say just seven weeks ago, and his little girl hugged his windpipe shut before squirming to be let down, her Spanish lessons trailing back from her in sharp puffs of vapor. He blinked the thought away, leaned the projector back into the seam of his arm and chest.

“Do you know where Virginia is?” he asked Ms. Onwe.

She was so short it felt almost like giving En his stern daddy stare. She looked up at the picture of her sons. Jandro waited but that hot needle of alarm wasn’t in his heart. She often made little sense — today was one more example — but he was sure she would have already shared anything close to helpful.

“No, Mr. Jandro,” she said, still looking at the photograph. Watching it, somehow. “I should not say like that. I know what it is to lose children. And to wait.” She touched his hand again. “Please, take.” That rolling finger bone, its gentle insistence.

He enjoyed the same haze of whiskey, but the dream changed. Redrew its lines. Jandro came out of the woods a few seconds earlier than before, almost soon enough to reach his daughter. His life was full of almost. He watched En float away into the long pale sky, a bright smudge from which her yellow coat tumbled back to the earth like a shed skin. But now, all around him, a dozen or more Virginias lifted off the ground, the sleeves of those fallen coats reaching up for the arms that had filled them.

He thought he could hear their voices, but the cellophane static of radios drowned the words. Behind him, vaguely, was the sense of pursuit. The crackling of transmissions and dead pine needles. The cops were rounding up Mexicans all across this dream Delmar.

A shadow, pooling on the grass beside him. A looming hand. The INS badge gleamed as he was jerked around and a voice growled, “Alejandro de Garza, you are under arrest. Tu mamá te espera.

His shoulder ached under that hand. But he could only crane his neck, watch his daughter — more than a dozen daughters, now — borne away into the sky. He could only wake. The waking was the awful thing.

Eight times on the slide. Eight or nine. The real question was how many seconds he’d spent checking his phone that morning. He had no memory of what the email or Facebook post had been. All it took were those few moments with his eyes somewhere else. But he kept trying to count her loops anyway, like picking a lock, eight or nine times on the slide.

They’d had the playground to themselves so early and cold on a Saturday morning. En had insisted. She ran for the swings first, the stubborn dark tangles of her hair bouncing, and Jandro sent her just high enough for a four-year-old to pretend the sky was too close as it fell toward her. “Cielo, tierra, cielo, tierra,” she chanted. She wasn’t learning Spanish anymore at home, so he tried to coax it into her the two days a week he had her.

She always saved the slide for last but could never wait long. The play structure was a giant clown’s head, red hat and faded white face, and she loved it as much as it creeped Jandro out. There was a rhythm to her then that he’d memorized across a long string of weekends. The thuds of her sneakers up the ladder, her fisherman-yellow coat crinkling as she shifted into just the right spot, the lift of her voice into a half-squeal down the other side, and the slow whisk of plastic against the butt of her favorite pink corduroys. Repeat. Repeat. Watch me, Papá. Watch me, Daddy. And he had, most times he’d been happy to.

Eight slides. Or nine. She’d taken countless trips down it in the year after she and Krista had left him, it was their Daddy-En Saturday morning ritual along with their secret doughnut breakfast, but you couldn’t always hold them in your eyes. There were cracks in time when you saw a pretty young mom with a stroller. When you looked up at a gliding hawk, distant as a mote in a cloud’s eye, or rooted for a wet wipe thinking her runny nose might need it. All those times you sat there on a bench thumbing your phone screen. Because you always knew the sound of your little girl’s voice and the loop she made, up, settle, down, run back around.

And when the rhythm of her had cut off that morning, suddenly not there, Jandro looked up and saw right away that the playhouse was empty. The purple slide that came out of it like a bruised tongue, the ladder up into the clown’s head, empty.

Behind him had been the drowsy street. Ahead, the wide, short field beyond the playground with only faded grass waiting for spring. The brief postscript of woods lay beyond it, but her little legs could never have reached them in the moment he’d looked at his phone. En loved those trees, liked to make Daddy hold his breath when they walked through them from the apartment building, because the air was poison and would make him fall asleep for a thousand hundred years.

He’d stood up into that breathless quiet and called her name, Virginia, Virginia. Her second word as a baby had been to pluck En out of the center of that mouthful, and Jandro only called her Virginia in scolds, or in the cold moment every daddy hoped would never, ever come.

She was gone. An image, cobbled together from all the fears that live in the backs of parents’ minds — his daughter with a greasy hand clamped over her mouth, dragged into the trees, into the alley across Milton Ave., into dark places full of implacable horrors. He played his mental En-tape back. The last thing had been the sound of her shoes climbing back up the ladder. All the looks he got later, all the detectives’ questions, the ringing in his eardrums after Krista’s screams, wouldn’t change that. There had been no child predator, no dirty fingers groping her, stealing her away. She hadn’t gone down the slide that last time. Up the ladder, and there the loop of her hung broken in his mind, calling out its echo.

He opened his eyes, still drunk, and saw something in the room with him, a low black lump in the center of the studio apartment near the kitchen island. He and the shape waited in the dark together, Jandro swallowing his daughter’s name, swallowing it again, finally whispering, “Ms. Onwe?”

It did not answer. Jandro thought he saw other shapes, sliding out of the bathroom doorway, crawling into the far corner of the ceiling above the refrigerator. There came a dry snapping sound, a metallic click, repeated several times. Like a light switch, a blown bulb. Quiet spread. He drifted off until it was morning, flat winter white and bruising cold.

He woke and scanned the apartment for detritus from his visitor. For a long moment he stood in the middle of the single room, shivering, trying to decide if it had been a new dream.

The door was locked, but the window was open several inches. Outside it was wet enough for the snow to clump together before it landed twenty feet below. He checked today’s fresh line of footprints leading away from the apartment building to the trees, the park beyond them. He’d learned not to trust those prints, though they were small and shallow enough. They could belong to anyone’s kid — the building had three or four around toddler age that he knew of. And the tracks filled so fast in all the snow. His heart ached to think of spring, when this strange trail would be gone, too.

He closed the window and leaned his forehead against the pane, relishing the cold, willing it to tighten the blood vessels in his brain. A quick breakfast shot of whiskey handled most of the headache, but he could never shake it all off.

He had to find work. Mr. Callum at Daye Construction had hated to let him go. He’d had five good years with Daye, solid work and respectable pay, and as an illegal you didn’t just let something like that slip away. But he’d been a drunken wreck after that morning at the playground. A month later he’d been even worse, without even the pretense of showing up at the job sites.

Of course En was probably — he came closer to thinking the word than usual, but still couldn’t allow it. But he understood the near inevitability. And his mother’s lymphoma wasn’t going to cure itself, her slow death back in Puebla. He hadn’t had the heart to call her once since Virginia had gone missing. She had never even met her granddaughter, and he couldn’t bear to tell her she never would. So here he was, losing his mamá, too, in all of this. He was missing the end of her life, two and a half thousand miles away in Delaware.

But she needed an influx of cash that he was running out of. He had to work. This crusade was grinding to a bitter end.

The projector stood on the granite island that, flanked by two barstools, served as his counter space and dining table. It was a simple model: a few knobs and toggle switches, a lens with a focus dial around it. An odd nub protruded from the back of the machine, covered with foil mesh. MICR had been written below it with a felt pen. He stretched the cord over to the counter and plugged it in beside the toaster.

A powerful urge to call Krista came to him. To feel the sharpened ice in her voice, to hear the words between her words, the true sentiments that hid in her long pauses. This was his fault. He had lost their daughter. She was glad she’d never married him, because now he could get shipped back to Mexico once she told the police he’d never gotten his green card. He knew how to wear this ballast of guilt. Part of him yearned for it.

Instead he flipped the toggle to ON and an electric hum rose. The reels clicked to attention, the rear one full and the front one just a bare spindle. He had no clue what he was doing, but the film seemed to be threaded already, so he flipped another lever, labeled OPER. The reels spun, the tape traveled from one wheel to the next, and a blunted square of light appeared on the wall above his bed.

Blank white played out for a while, then Jandro shut the projector off. It was time to search for En. Time to repaper the neighborhood with flyers, to linger outside the police station, dredging up the courage to go inside and ask for Detective Swinson, demand some information, anything but nothing. Dreading that when he finally did, the INS would be brought up. The questions, the searching glances. Time to end up sitting inside the clown’s bright head, his nose raw from the constant swipe of his army-surplus coat sleeve, waiting for two little hands to push on his shoulders, a voice to say through the giggles, “My turn, slide hog!”

Or he could empty the bottle of whiskey into the toilet, flush it into Delmar’s bowels, and find some work. The thought of spending time looking for anything other than En tore at his gut. He went back to the window, stared down at those footprints leading away toward the strip of woods. “Mija,” he whispered. He always counted on that little word to hold everything.

Jandro still held his breath every time he passed through the woods. It was his benediction for his daughter, however much he would have liked to sleep for a thousand hundred years and have En wake him with a kiss. It took barely twenty seconds to walk through the trees, motley clusters of Scotch pines, skinny birches, a few stout oaks.

When he stepped out of their shadows, letting his breath plume out above the quilt of snow leading to the playground, he stopped. Something felt different. The town was holding its breath, too. He watched the clown’s wide dinner-plate eyes, the too-small pupils. The only obvious thing was that the clouds seemed to be drifting around the little park, framing an irregular oval of sky. And the feeling, sharp and ineluctable, that he shouldn’t go any farther today.

Turning around felt like a betrayal, though. Krista had said endlessly that En had probably snuck down the slide and started a game of hide and seek, waiting for Daddy to catch on. And someone else had found her, instead. Jandro just couldn’t admit that those few seconds on his phone had been minutes. No one got it, how he knew En’s rhythm, it was like the pulse in his blood. He still felt it, even now, pulling at him.

But he filled his lungs with the cold air, closed his mouth tight, and retreated through the trees.

Mr. Callum was kind enough to refer him to a job, so come morning he’d have a week’s work finishing up two houses in a development out on Springer Road. Grunt work, sanding cabinets and tiling bathroom floors. Jandro capped the bitter success with a hand’s worth of rye in his old Hamburglar glass, the one that always made En giggle.

He found himself orbiting the kitchen island and the projector marooned on it. Studying the knobs and switches, his eyes came back over and over to the microphone. The blank reel had no sound, of course, so he had no way of knowing if the microphone was only an odd extra speaker. But he was haunted by the insistence in Ms. Onwe’s voice. The visitor in the night, or his dream of it, snapping the toggle switch up and down. Twice he nearly stepped into the hallway to knock on her door, but he was drunk and it was late.

Around midnight he hid the bottle of whiskey in the pantry. He turned the projector on, leaned close to the microphone, and whispered, “Where’s my En? Tell me where she is.”

He wandered over to the bed and fell across it. “Where’s my little girl?” he asked again. Passing into something like sleep, he remembered he had more than a new set of kid-sized footprints to set the alarm clock for. He slept and if his dream came to him, it was too distant for him to recall, just a speck against the sky, a hawk or a precious thing called away from him in secret.

Jandro was grateful for the hair of the dog the next morning. After nearly two months out of work, his fingers cramped and began to blister. His knees flared with pain. He tried to pray since he was already kneeling, but it seemed God’s ears had crusted over some time ago. The foreman, some guy named Franklin he’d never worked with, called him Paco all day, and near dark Jandro dragged his weighted bones onto the bus. It was snowing again. When he focused on the flakes swirling past the window it was a kind of hypnosis.

The whiskey still stood in the pantry’s shadows, Jandro at his place by the window, pushing the bottle’s pull. There hadn’t been any footprints this morning, but it had been five a.m. when he left, and the new snow would have filled them in.

The dark tree line drew a seam across the sky, a pink echo of sun fading through empty branches. He watched and ached. He thought of the life that had been taken away from his daughter, the great puzzle of traits and decisions she would never get to be and the quirks she would never grow into. She’d hated milk — what kid ever said that? And where might that dislike have led her? Jandro remembered stealing a candy bar from Cordava’s Mercado as a teenager, how Cordava himself had chased him across the street and knocked him down. He’d lost two teeth against the wall of the auto garage, which had made him too self-conscious to really smile until he’d gotten a bridge seven years later. He’d been sullen, bashful, a virgin until he was twenty-two. How much of his life, his path, his character came from that stolen Mars bar? What mistakes and the arcs of those mistakes would never be allowed to shape En?

“Buy a cheap car,” he told the window and its scrim of frost. “Drive south along the Gulf, until Texas ends. Breathe the last of this air that doesn’t want you. Head home to Mamá and be there when she goes.”

He said these words, or something like them, every night. To taste the thought. Watching the sun bleed out, watching the purpling of the snow out on the lawn. Chasing these ghosts. “Lo siento, mija,” he whispered. He pressed the bones around his eyes, then turned and looked at the projector. It took a moment to notice the difference. The front reel was full and the back was empty. It had been the other way around the day before, he was sure of it. A small thrill found him. He looked around the apartment, heard water coursing through the veins of someone’s walls, smelled the unwashed, given-up stench that never left the air around him. He turned the projector on.

The white absence on the wall lasted only a few seconds before a deep red replaced it. Jandro switched it off in a panic, then swiped the comforter from his bed and pulled the sheet off. It was white. It would do. He rooted through his tool belt for nails and hammered them through the sheet into the drywall above the bed.

He flipped the lights off and the toggle switch back up. That deep red threw itself across the sheet, sharper now, shifting like something seen through eyelids that had just opened. A point of dark blue bled into the center, but Jandro didn’t know if it was a flaw or part of the image.

Then movement, and that navy smudge came closer until it had the circumference of a poker chip. Another color intruded along its edge. He thought of a blue moon, in the first moments of eclipse by a hint of green beyond.

He found the focus dial around the lens and twisted it. The image only smeared further, so he turned it back. What he was looking at changed. The red wall rose up and he saw a strip of violet-blue sky, a ragged suggestion of treetops in the distance. His heart caught and he couldn’t breathe. The view tipped forward to show a patch of sand, then two small legs in pink corduroy, two little white sneakers, and the world streamed by. Jandro felt that old rollercoaster lurch in his gut. En, on the slide. Where’s my little girl? he’d said into the possible microphone. Her pink corduroys, her Saturday pants. On the slide.

Jandro wasn’t aware of opening the door. He didn’t see the hallway. The world came back to him in the rush of cold air in his ears, the crunching of snow under his work boots. The world ran with him across Adelin Street toward the trees. He gulped a huge breath at the last second before he crashed into them, dodging trunks, eyes on the field beyond. The snow cast its own ghost light at him, and somewhere off to the left static muttered. He didn’t stop, hardly even thought the word radio.

The clown’s head sat waiting for him like a cabin in a vast wilderness, as it always did, something he should never have abandoned and was lucky to return to alive. The west end of Delmar seemed distant around it, muted against the bright colors, the dejected silhouettes of the three swings, each with a rictus of snow upon its seat. It had been a sad little park, even before.

He reached the swollen purple tongue of the clown and scrabbled up the slide into the arch of its toothless mouth. It was empty. But for the deep pocket of shadow he crouched in, it was as empty as it had been the day En never came out of it.

“Virginia!” The only answer came as a soft crackle drifting from left to right to somewhere behind him. Jandro slumped down into the cold dark until he remembered the circle of sky he’d seen projected on his wall. At the apex of the clown’s head, where the pyramidal angles of its red hat met, was a small hole. It framed the sky beyond in a full blue moon. He traced it with a finger, then raised himself to peer through. If there were stars, they hid behind two curtains of clouds, which bowed around the playground as they had done the previous morning.

The sky he’d seen above his bed had been a blue darkened perhaps half an hour past dusk. And that faint green, whatever it was, had partly eclipsed the hole in the plastic. There was no green now. It was past ten p.m., and Jandro wondered if he was too late, if going back to work had thrown him off course.

He’d allowed himself to think before that this playground might be a thin place between worlds, or planes. He could never share such an opaque, abstract idea with Krista, so invariably he found himself here, silent and trying to feel Virginia’s hands on his shoulders.

He waited a long time because her little shove felt more possible than it ever had. She hadn’t gone down the slide. Finally Jandro did — he squeezed his legs through the clown’s mouth and slid down the tongue, feeling snow soak the seat of his pants.

Ms. Onwe didn’t answer his knocks, even when they turned into pounding. Her door was locked. A voice from 2B across the hall yelled something, and Jandro gave up and went inside his apartment, where he begged the projector. He gripped its brushed-steel casing and asked the nub of microphone, “Where is she?” and a dozen variations on that theme.

He thought of calling Krista to tell her that Virginia might be trying to find him, but couldn’t shape the words in a rational way. Instead he set the projector up again to finish watching, to search for clues, but the reel was now empty. The ache of his body and his strange thoughts wore him down soon after and he slept, haunted intermittently by Ens floating away from him. He counted them, reaching seventeen in the last of the dreams, until a shadow unwound onto the grass beside him, and he woke to the flapping of the projector’s reel.

Someone had left the window open again. He stared through it, bleary-eyed, the tautness of the decision he had to make thrumming like a guitar string. If he ditched work he didn’t know if Mr. Callum would give him another chance. He’d be consigned to the Lowe’s parking lot, puffing out the chest of his thickest coat to appear stronger, more durable. There weren’t many illegals in Delmar, but they still worked cheap, and he had ten years on most of them. It had been a long time since he’d had to hope his way into the bed of a pickup.

He had to leave soon to catch a bus. But the projector had filled again. He didn’t know how, but his questions had been answered a second time. He imagined working all day, lost in the whine of the power sander, with the knowledge that En might be close, that there could be a key to some unknowable door —

He flipped the switch. The silent red ceiling flickered to life on the wall, and Jandro stood frozen as it played out. The sky through the hole in the clown’s head was the same deep navy, but its shape was a crescent now. That out-of-focus green occluded more of the sky through the hole, pushing the blue toward the edge. The image of a moon was the only one that felt right in his mind, these phases of Virginia. As before, the scene felt nothing like a film, nothing captured through a mechanical lens. It lacked a sense of defined frame, with rounded edges that felt closer to true vision.

The scene shifted, as it had yesterday, but the legs that unfolded themselves onto the slide now seemed longer and fuller through some trick of faded light, the pink corduroy stopping at the shins and tight against her legs. The purple slide a quick blur, the pale sand.

The woods shook, drawing closer. Virginia was running toward the trees. A breathless, silent trembling of the world. His body tensed with the realization that she was heading straight for him, this apartment, her weekend home, but when the trees flowed over and around the periphery, she stopped. Shapes moved, perhaps closed onto her. He couldn’t pick anything out of the murk. He climbed onto the bed and tried to keep his shadow out of the projector’s beam, hunched on the stripped mattress and peering up at the image like a cowed animal, but it faded white and the reel ran out behind him.

“Sand,” he said. His mind had gone back to the slide. “Sand. The snow’s melted. It’s not time yet.” He scrambled off the bed and over to the window, as though to verify that spring hadn’t miraculously fallen onto the bottom corner of Delaware overnight. Through the trees across the street the sun rose with perhaps a new intensity. There were no footprints in the snow.

But the sand. He needed to wait until the snow melted and there was only sand on the playground, and the flaring hope it brought him. He went to the projector and spoke, slowly, enunciating into the microphone: “Please tell me how to get Virginia back. Please tell me when, and how. Please tell me what I need to know. Que dios te bendiga.” He kissed the mesh nub and grabbed his coat.

Something thumped inside Ms. Onwe’s apartment as he passed in the hall. He stopped and pressed his ear to the door. A sliding, dragging sound. It could have been the old woman struggling with any of the hundreds of things she had in there.

He was already going to be late to the job site, but he knocked anyway. “Ms. Onwe?” He knocked again. “It’s Jandro. I need to talk to you about your projector. Please.”

There was no answer. The dragging sound had stopped. He tried the doorknob and it turned in his hand. A deep stink — gone food and mildewed laundry, worse than usual — clouded into his face as the door opened on a wedge of dark.

“Ms. Onwe?” He stepped in, pulling the collar of his army coat around his mouth. There were no lights on, and from the door he could see none of the dawn that was building outside. The brief throat of her hallway opened ahead into the close musty living room. Nothing for it except forward.

The stench deepened, became older and more complex. Heavy curtains or blankets over the single window shut the room into a tomblike black, within which his boots encountered resistance in every direction. Jandro tried to recall where he’d stepped through the hoarded junk the other day, to the lamp and projector.

“Are you home?” He listened, caught a chewing or smacking sound in front of him, something damp and suckling. Sliding to the right, he found the path, remembered the bend only when his shins knocked over a pile of magazines or newspapers. The wet sound continued and Jandro moved on. Soon his hip banged a table, and the lamp wobbled, telling him where it was. He reached down and clicked it on.

Filmy orange light puddled below, and cast in its weak glare a knot of black and white shapes moved on the floor, several feet from where he stood. He couldn’t decide what he was looking at until the shapes resolved into figures, kneeling or on hands and knees, bent over something in a loose circle. Tilting the lampshade up, he threw a heavier smear of light on them. They were pressing their faces against a focal point beneath them, kissing it, their mouths making soft moans. In the stronger illumination some of the figures pushed themselves up and turned to regard him. As many as fifteen Asian males, short, and of greatly varying ages. He saw two hardly out of their teens and three stooped, withered old men. The rest were in between. They all carried a strong familial resemblance, as though several generations had gathered here for some rite, dressed in white button-up shirts and black pants with bare feet. The last few finally, grudgingly, lifted their faces to Jandro, as well. The dozens of eyes watched him. He thought of zombies, ghouls, something he could pull from a movie and plug into this, but their mouths were only drool-slicked, with no trace of blood.

And at last he saw the subject of their ardor. Ms. Onwe lay on the floor in a long powder-blue tunic. Her face shone with wetness even in the low light, and Jandro thought she was dead until her pearled eyes opened and rolled toward him. “My boys,” she said. “Chun-chieh and Chih-ming, they always find me. Always love me.”

The figures slowly returned to the floor and to moving their mouths over the old woman. They kissed her, extended their tongues to press against her body. “She close, Mr. Jandro,” Ms. Onwe said from under them, “your daughter. Close when she left.”

Jandro fled, triggering an avalanche of junk in his wake. Who in God’s name were those men? What had the projector shown the old woman, and for how long? By the dirty lamplight he found the hallway and stumbled out of the apartment. He was in the street, turning toward the bus stop, before he felt the difference in the air. A warmth. The sun broke through En’s poisoned trees in postcard rays, and he tipped his head back to see snowmelt dripping from the building’s eaves and trickling from the gutters. If it was this warm at six a.m. —

The old weight rolled over him: He forced himself again to think of his mother, go to work. All the hours before dusk had to be filled, anyway, and he could send her money in a few days. Talk to her neighbor, Lupe, find out if chemo was still an option. He felt shame, that he didn’t know the answer already.

The bus drifted through slush and Jandro’s mind went with it. At the unfinished house he let muscle memory guide his work, held in a vacuum of soft, pressing expectation. Every five minutes he checked a window to make sure the sun still bloomed down. It was late March. A sudden spring would not quite be a miracle, but it would be close enough for Jandro. He tried to pray, and imagined he could feel his words at last being listened to.

The snow had shrunk to gray tumors along banks and curbs by the time the crew knocked off. The sun beat like a revived heart, mid-seventies even an hour from dusk. Coming home on the bus was like waking into his dream, and it was all he could do to avoid the park. He went up to his apartment instead, hurrying past Ms. Onwe’s door.

The projector had a full reel but only showed him six minutes of the ceiling of the clown’s head — the square of red and the moon full. Not with blue or the blurred green of before — a mess of vague color, whitish, black, brown moved inside the circle. He went to the window. The sky lowered, draining from a richer orange to peach to yellow, then began to fill with a quick dark blue that caught him by surprise.

He ran to the stairs, down and around and out of the building, nearly colliding with Krista as he emerged onto the sidewalk. Her makeup was a ruin beneath her eyes. He had no idea she’d started wearing makeup.

“Just tell me where she is,” she said, her voice thin and rising from the first word. “Tell me. I can tell Immigration it was a false alarm if you just say it.”

“Immigration?” A coil of anger tightened in his chest. “You reported me? Don’t talk like this, Krista. You know I don’t know.”

“You did something. Or you’re hiding something. I’ve thought and thought and it’s the only thing that makes sense. You — ”

She shrank back from him. Jandro had never come anywhere close to striking her, through all the arguments and recent accusations. But his hand rolled into a block, and his arm tensed. He breathed. “I would never.” He breathed. “Hurt our daughter.” He pushed past her.

“I told them to come now,” she called after him. “Where is she?” The rest of her words bled away as he crossed the street toward the woods. He filled his lungs with blessed, new spring air and pushed through.

The playground lay in an envelope of dying light when he came out of the woods, the clown’s head squatting in the center. There were no clouds, so he could not discern the aperture in the sky, if it was even still there. He jogged across the patchy field, the grass bleached a sickly beige after months packed beneath the snow. But it was sand ringing the playground when he reached it, damp, with only a rind of slush along the edges.

He climbed up the slide and waited. He imagined being arrested, watching the judge hold up his deportation papers, the stern voice an atonal blur against the beating in his head. He thought of finding Virginia and being forced to leave her in the next moment. The sun seemed to sink in a final ellipse around the park, turning the west of Delmar briefly golden.

“But what did the moon mean?” he asked the night as it folded itself around him. The projector had emphasized those moons, and again he stretched up and peered through the hole in the ceiling. Nothing but the empty sky. It hit him then — the view shown by the projector had been from inside this play structure. And something had partly covered the hole. Something green. Something outside. He held up the sleeve of his drab olive coat.

He leaned out of the clown’s mouth and turned himself. It was a moment’s work to climb to the top of the red hat and cling there, surveying his barren little kingdom but not really seeing it. He lowered his face to the hole, slowly, thinking of the phases of the moon as his eye eclipsed it, and peeked through. And there she was. En. Her yellow coat and pink Saturday pants, her tangled dark hair.

When she saw him looking she giggled, scooted away, and shot down the slide. He heard the little squeal, the one that had been caught in the ether for nearly two months, finally release itself into the air. “Virginia!” he called, but she was off and running toward the field and the trees.

Jandro shifted to swing himself down to the sand. Something moved through the hole, inside the structure. He dipped his head again and watched another En laugh then move forward toward the clown’s mouth. She was bigger now, the size of an eight-year-old. The pink corduroys were more like capri pants, snug around her shins. Halfway across the field the first En ran with her arms up in airplane wings, teetering side to side to simulate flight.

“En!” But this second girl had already gone down the slide and was following the first. Jandro let go and braced his legs for the impact. The jolt spiked through his left ankle, which turned against the wet sand.

He set off at a limping run but then stopped. Other figures converged on this side of the playground. All female, all of them with an inexplicable yellow coat and pink pants. One little Virginia ran up to him and said, “Daddy!” as she hugged his leg. A sharp sob escaped Jandro, but she was gone before he could wrap his arms around her. A woman passed in front of him, beautiful, black-haired, with the sharp angles of Krista’s face hiding under Jandro’s complexion. She peered at him, narrowing her eyes. “Dad?” she said, confused, then walked toward the woods.

Jandro swiveled left, then right, taking in these fifteen, twenty daughters. A hunched old woman came up to him, with long silver-streaked hair, webs of fine wrinkles turning her face almost to paper. He saw so much of his mother in that face. For a moment she seemed on the verge of reaching out, in tenderness or for support. But she looked away shyly, then followed the others, passing another woman whose hands were laced over a belly swollen with pregnancy. His grandchild.

He thought, with a sick lurch, of the figures in Ms. Onwe’s apartment. It came to him now that he had recognized those men, had seen variations of them gazing out of a dozen picture frames hanging above Ms. Onwe’s hoard. Her lost sons. How far they must have come for their mother, three years across an ocean and a continent.

But these Ens did not seem profane in any way, and he understood that not only had he found En, he had found perhaps every En. All his possible daughters on all their possible paths, their threads of decisions, beliefs, and joys. All the ways her dots could have connected from the nexus of that morning when he lost her. It wasn’t a matter of which was the real En. They all were real enough.

For a moment he could only stand and watch his girls, thankful that not one was being pulled into the sky. Off in the distance, on Milton Avenue near the municipal building, a police car’s flashers burst into life, stuttering an unnatural blue into the night. Two figures emerged from the car and came toward the playground. The park was closed, Jandro told himself. Nothing to worry about. They would tell him he wasn’t supposed to be here. They were regular cops. Krista hadn’t really made that call.

La gracia de dios, Mamá,” he murmured, “si pudiera estar aquí,” and followed the Virginias, the pain in his ankle forgotten. He saw another, in her late teens, whose right arm was missing at the elbow. She walked behind the others, staring down at the half-dead grass, and he quickened his pace so that he could comfort her, find out what had hurt his mija.

But she passed into the woods alongside the elderly Virginia. They were gone. A crackling drift of sound, either from the approaching figures behind him or as the last few rattling leaves in the trees. He plunged after his daughters, shouting their name. Black shapes stirred and came forward. The dark had grown past full, and within it arms reached out and touched him. Reunion found him. He only hoped that each one of his Ens would have the greatest blessings of life, that their sorrows would be small and their hearts full.

“Daddy,” one of them whispered, then another, and another. Something was wrong with his head, a lightness and a terrible weight. He had forgotten to hold his breath. Yet all these soft arms, they stretched and embraced him there in the trees, kept him from falling, and Jandro breathed in the first moment of an eon.

The Year in Review: 10 Moments That Rocked the Literary World in 2016

Put bluntly, 2016 was rough. Even a list of the most buzzed about events, incidents and happenings in literature isn’t exempt from the forces that reared their ugly heads this year. We saw privacy attacked while fake news spread, great writers pass away, and women shut out of many of the year’s top literary awards. But there have been bright spots, too: authors of color were recognized and their works won much deserved prizes, alternative forms of story-telling and small presses gained international attention, and independent bookstores saw growth for the seventh straight year.

This year’s literary events reverberated beyond the world of writers, and not just because a non-traditional ‘writer’ — aka Robert Allen Zimmerman — won a major prize. After years of being warned that fiction is becoming irrelevant, 2016 felt like a confirmation that great writing still matters. That people are still reading. They’re buying books and supporting bookstores and listening to what artists have to say. Given that 2016 doesn’t exist in a vacuum — its roots were planted years ago and its fruit will continue bear in the future — this knowledge is more important than ever.

So, to cap off the year, here’s our list of the big literary events of 2016.

The Unmasking of Elena Ferrante

2016 was a strong rebuttal against privacy, a victory for over-exposure and the misled belief that access equals transparency. In the political arena this was best encapsulated by Donald Trump, who tweets whatever is on his mind at 4 am, while in the literary world the trend fell on the unwilling head of the Italian author known as Elena Ferrante. Despite Ferrante’s pleas for anonymity, Italian journalist Claudio Gatti wrote a report for the Italian newspaper Il Sole 24 Ore (which was then republished around the world, including by the New York Review of Books) which unmasked the author’s identity by tracing financial statements between Anita Raja, a translator who lives in Rome, and Ferrante’s publisher, Edition E/O. Many of Ferrante’s fans were angry at this gross breach of the author’s wishes, though if 2016 has proved anything, it’s that facts are no longer synonymous with truth. Only her books can do that work — and so we keep reading.

Bob Dylan Wins the Nobel Prize in Literature

On October 13th, the Nobel Prize in literature was awarded to singer, song-writer, and sunglasses super-fan Bob Dylan. Dylan won for his lyrics, making him the first musician to win the prize, and the the first American recipient since Toni Morrison in 1993. Dylan’s award raised questions not only about what constitutes literature but why the committee would choose to give the prize, which comes with $870,000 and invaluable exposure, to a famous musician when writers and the written word are so in need of support. If the Nobel committee was hoping to generate buzz by nominating a celebrity, they got their wish — though they may regret it. Dylan took his sweet time accepting the prize and then declined to go to the award ceremony.

Harper Lee Dies at Age 89

On February 19th, Harper Lee, author of the Pulitzer Prize-winning novel To Kill a Mockingbird, passed away at age 89. In addition to having her book taught in almost every middle school in America, Lee received the Presidential Medal of Freedom for her contributions to American literature in 2007 and the National Medal of Arts in 2010. This year also saw the loss of Umberto Eco, Elie Wiesel, Katherine Dunn, and William Trevor, among other great authors.

Paul Beatty, First American to Win the Booker Prize

Paul Beatty became the first American to win the Man Booker Prize, awarded for his novel The Sellout, a darkly comic tale of an African-American man who attempts to recreate slavery in California. Opening the prize to American authors incited some controversy across the pond. Even before Beatty won the award, the number of British authors declined notably in this year’s long list, causing some to worry that British authors will continue to be marginalized by the UK’s top literary prize.

Another Attempt to Fix the Hugo Awards

For the second year in a row, the Hugo Awards for Science Fiction and Fantasy were subject to influence by The Sad Puppies and The Rabid Puppies, two groups known for their racist and self-proclaimed “anti-leftist” and “anti-academic” agendas. Despite attempts to fix the results by tipping the nominations towards Puppy-approved works, in the end the winners of the Hugo Awards were a pretty diverse list of authors and arists.

Straight White Women Run Publishing

A new survey of the publishing industry by Lee & Low looked at 70 publishers in the US and Canada and confirmed what many knew to be true: the publishing industry is overall 79% white, 78% women, and 88% straight. While there have been more conversations about the need to improve diversity in publishing (such as last year’s dialogue between Marlon James and Claire Vaye Watkins after she published her essay “On Pandering”), this study showed we still have a long way to go.

Marvel Enlists Big-Time Talent for Black Panther

When it was published in May, Ta-Nehisi Coate’s “Black Panther” comic for Marvel was an immediate success; in its first month it sold more than 250,000 copies in the US and sold out in the UK. In July, Marvel announced that Roxane Gay will join the franchise with “The World of Wakanda.” The comic will follow Ayo and Aneka, two lovers who are former members of the the Dora Milaje, the Black Panther’s female security force.

Whitehead, Nguyen & News for Diversity

African-American men took home three of the four National Book Awards, including Colson Whitehead for his bestselling, critically adored novel The Underground Railroad. The Pulitzer Prize in Fiction was awarded to Vietnamese-American writer Viet Thanh Nguyen for his suspenseful debut novel The Sympathizer. Still, among this good news, a new study showed that women are incredibly underrepresented in major literary awards.

Cormac McCarthy Death Hoax

In June, a fake Twitter account designed to look like Knopf (@aknopfnews) announced that Cormac McCarthy had died at age 81 from a stroke. Major news outlets such as USA Today quickly retweeted the announcement, leading to widespread belief that the author had passed away. It turned out that the news was a hoax by Italian journalist Tommasso Debenedetti, but Twitter still had fun with the incident.

Lionel Schriver & the Cultural Appropriation Debate

In her keynote speech at the Brisbane writers’ festival, author Lionel Schriver argued that the literary world is threatened by political correctness and that white writers are not guilty of “cultural appropriation” when they write from the point of view of characters from other cultural backgrounds. The author of We Need to Talk About Kevin (who donned a sombrero for much of the speech) sparked an intense debate over the lines between racism, artistic freedom, and cultural appropriation.

Electric Literature’s 25 Best Novels of 2016

Each year, Electric Literature polls our staff and regular contributors to pick our favorite books of the year. Whichever books get the most votes make the final list. Here are our 25 favorite novels of 2016. They include famous names and major prize winners alongside debut novelists and small press gems you might have missed. Check them out at an independent bookstore near you.

(We excluded books from staff members from the list, but we encourage you to check out Pull Me Under by Kelly Luce and Falter Kingdom by Michael J. Seidlinger.)

You can read the list of our 25 favorite short story collections from 2016 here.

What Belongs to You by Garth Greenwell

Like a Tibetan throat singer, Greenwell performs the uncanny feat of sustaining two notes in one breath. Frank depictions of sex, of venereal disease, and of rotting infrastructure lend his prose a certain stench, and keep us grounded in a post-Soviet landscape with all of its earthiness and grit. But Greenwell’s tone retains a measure of delicacy: his sentences are formal and refined, often carrying the narrative into the celestial. From one angle the book looks like a long act of solipsism, yet from the other side the book is outward-looking, even journalistic. Greenwell documents the texture of contemporary life in Bulgaria with care, and the American reader will exit the novel familiar with the country’s language and its customs.

— Laura Preston in the introduction to our interview with Greenwell. You can also read our review of What Belongs to You by Ilana Masad.

Margaret the First by Danielle Dutton

Yes, she may not have effected any radical change during her own life, but this same account does movingly relate that she was buried in Westminster Abbey, where her dedication reads, “This Duchess was a wise, witty and learned lady, which her many books do well testify.” This reveals that she managed to win over at least some admirers before her death, and that Stuart England immortalized her as an example and a role model to the generations of female writers that followed her. Thanks to Margaret the First and Danielle Dutton’s elegance with words, this may continue for many more generations to come.

— Simon Chandler in our review of Margaret the First

Swing Time by Zadie Smith

Swing Time by Zadie Smith is a magnificent, mature novel, but one that reads differently than the others previous books (which have all been incredible, each in its own way). The most noticeable thing about Swing Time, at least for a longtime reader of Smith’s work, is how much of it defies the old writing workshop adage — it tells as often as, if not more than, it shows. Paragraphs can last up to a page in length, the narration is first person, and there is a Jamesian quality to some of the sentences that is unexpected for Smith, who is an excellent wordsmith and always has been but who has tended to give her characters voice through their words more often than through their internal narration. All of which is to say that Swing Time is surprising — not that it is anything less than excellent.

— Ilana Masad in our review of Swing Time

The Underground Railroad by Colson Whitehead

Slavery may have been abolished in the United States in 1865, but that doesn’t mean its effects still don’t ripple throughout the country to this very day. This, at least, is the idea Colson Whitehead deftly unpacks in his harrowing sixth novel, The Underground Railroad. The New York writer sends the book’s fifteen-year-old protagonist, Cora, on a clandestine journey from the south to the north of America in search of a barely imaginable freedom, and in so doing he captivatingly depicts how the repercussions of a life in bondage can haunt and constrain people even when they’ve escaped their shackles. Yet more universally, the novel delves deeper into its brutal world by showing how the institution of slavery wasn’t simply a means of subjugating the African-American population, but also a subtle, systematic means of keeping the whole of American society in check as well.

— Simon Chandler in our review of The Underground Railroad. You can also read our interview with Colson Whitehead.

High Dive by Jonathan Lee

Though the inevitable bombing at the end of the book creates a sense of dramatic irony and dread for the reader, we see Lee’s characters distracted by their own existential crises: they go about their lives as any of us would before a tragedy, selfishly worrying about their futures, worrying about the past they can’t relive, and worrying about how to fit in when they are not sure what they have to offer. Lee’s High Dive is suspenseful, expertly paced, and an excellent read.

— Heather Scott Partington in our review of High Dive. You can also read our interview with Jonathan Lee and an excerpt of the novel in Recommended Reading.

Homegoing by Yaa Gyasi

Originally from Ghana, Yaa Gyasi was recently honored as one of the National Book Awards 5 Under 35 authors of 2016. Her debut novel Homegoing, follows the vastly different trajectories of two half sisters born in disputed Fante and Ashanti lands in the mid-1700s. One sister, Effia, is married off to a British governor and lives a life of subsequent luxury. The other sister, Esi, is taken captive as a laborer in the dungeons of Effia’s palace, and is eventually sold into the slave trade. Isabel Wilkerson of the New York Times writes: “The narrative unfolds through self-­contained stories, some like fables, others nightmares, that shift between the family lines in West Africa and America, each new protagonist a limb of the disrupted family tree. Characters reappear in dreams or retellings as the action moves from the Cape Coast to Kumasi to Baltimore to Harlem.” The best-selling novel is a must-read if you haven’t gotten your hands on it already.

The Association of Small Bombs by Karan Mahajan

In Mahajan’s book, an intelligent man associated with a separatist movement plants a bomb in a Delhi market. The explosion kills two boys out to pick up a television from a repairman, but spares their friend, who moves forward in a life marked with injury. As bombs go, this is a small one, “a bomb of small consequences.”

The truth, of course, is that there is no bomb that does not have vast consequences. The explosion profoundly changes the parents of the two boys killed, spurring their participation in political life. The survivor grapples with religion. Remarkably, we observe the inner lives of a bomb-maker and an idealist drawn to terrorism.

— Megha Majumdar in the introduction to our interview with Karan Mahajan. You can also read our review of The Association of Small Bombs and an excerpt in Recommended Reading.

The Mothers by Brit Bennett

At its core, The Mothers is a novel about choice. Some choices are uncontrollable and impulsive, while others are pragmatic. Nadia Turner chooses to leave town for college and navigate her potential outside of the small community where she grew up. As Aubrey puts it, “Anywhere [Nadia] wants to be, she goes.” Aubrey chooses to stay and build her life in Oceanside. She hopes to fall in love, settle down, and start a family. The girls build different paths, but the end goal is the same: to lead happier lives than their mothers. This is where Bennett nails the paradox modern women face: the freedom of choice and the anxiety that comes with that responsibility — that people will still judge your choices.

— Fredddie Moore in our review of The Mothers. You can also read our interview with Brit Bennett and an excerpt of the novel in Recommended Reading.

The Queen of the Night by Alexander Chee

The urgency with which Chee has Liliet telling her tales, while continually creating a bait and switch narrative in which she yanks away knowledge at crucial moments only to come back to them later, keeps the reader off balance, racing through the pages without any possibility of stopping for fear of falling flat. It is that kind of novel, the kind one devours in a weekend or stays up too late reading. It’s the kind of novel one walks around reading, despite its size and heft (a fact I hope Chee, a confessed reader-walker himself, will appreciate). The Queen of the Night deserves the attention she is getting, and I plan on continuing to sing her praises.

— Ilana Masad in our review of The Queen of the Night

Multiple Choice by Alejandro Zambra

Chilean author Alejandro Zambra has been steadily putting out some of the best short novels around in recent years. His latest, Multiple Choice, is a beautiful and moving volume with a high concept: it’s written in the form of the Chilean Academic Aptitude Test. It doesn’t seem like this should work for a novel, but Zambra somehow turns multiple choice quizzes into moving meditations on family, history, sadness, and literature. Multiple Choice shows that inventive, experimental fiction can still be filled with emotion and heart.

— Lincoln Michel, Editor-in-Chief of Electric Literature. You can also read our lost interview with Alejandro Zambra.

Blackass by A. Igoni Barrett

In Blackass, no character is free from the engagement of escaping their prescribed lives. Some characters have more surreal exit strategies than others. On the morning of a crucial job interview, Furo Wariboko wakes up to find that he is no longer a black Nigerian. He’s confronted with a white body that alienates himself from himself, his family, and pretty much everyone he encounters. No one knows what to make of an oyibo, Nigerian slang for a white person, who speaks and acts with the fluency of a native black Nigerian. […] Barrett’s frenetic plot and pacing takes his characters to uncomfortable places that seem unbelievable and yet, in the moment of this novel, feel entirely plausible.

— Lauren LeBlac in the introduction to our excerpt of Blackass in Recommended Reading

Innocents and Others by Dana Spiotta

The seductive promises of the telephone, the possibilities of films imagined, but not yet made, the way a rough demo of a song extends the relationship between musician and fan from fling to full-blown love affair — these are just some of the obsessions that preoccupy Dana Spiotta’s characters, firmly situating her novels in art and the everyday. Innocents and Others, Spiotta’s recently published fourth novel, is about the possibilities of narrative, and the impossibility of controlling the reception of any narrative, whether they are the stories you tell about yourself or others.

— Adalena Kavanagh in our interview with Dana Spiotta

Nicotine by Nell Zink

Nell Zink is back with her third novel Nicotine, a wry social commentary in which a Jersey City squat is coopted by a nefarious businessman. The squatters are forced to scatter, and rooms that were built from scavenged material are transformed into state of the art yoga and puppet making studios. The kitchen where residents prepared meals foraged from dumpsters is converted to a café with expensive drinks. In this darkly comedic feud between anarchists and capitalists, Zink lays bare how the aesthetics of idealism are appropriated by corporate opportunists and subsequently fed to an unwitting and unquestioning public. As the title suggests, this novel is both addictive and jolting before leaving a final harsh, corrosive taste.

— Liz von Klemperer in our review of Nicotine

Patricide by D. Foy

D. Foy’s Patricide, his second novel, is an unusual hybrid that pushes against the edges of literary fiction with the unfiltered violence, frustration, and angst typically found in noir novels but does so with an elegance and lyricism that echo giants like Cormac McCarthy and Walt Whitman. Equal parts devastating coming-of-age (and beyond) narrative and philosophical examination of fatherhood, Patricide is, more than a novel about a man who survives a devastating, abusive childhood, a text that explores both identity construction/deconstruction/reconstruction cycles and the generational recurrence of aberrant behavioral patterns and falsehoods.

— Gabino Iglesias in our review of Patricide. You can also read our interview with D. Foy.

Private Citizens by Tony Tulathimutte

Tony Tulathimutte’s debut novel, Private Citizens (William Morrow, 2016), follows four recent college graduates as they flail, flail again, and flail better. The book is an uncanny mirror. If you’re an aspiring writer, a do-gooder, an Interneteer, or a human with a reasonable amount of despair, you might flush with recognition.

— David Busis in the introduction to our interview with Tony Tulathimutte

Sudden Death by Álvaro Enrigue

It is a suitably strange, light-footed but historically weighty construction that centers around a fake tennis match between the painter Caravaggio and the poet Francisco de Quevedo. From this central conceit, Enrigue expands the frame to take in the immense canvas of Counter-Reformation Europe and Cortés’s New World. It is a brilliant synthesis of art, history, religion, power politics, and — yes — tennis, a complex study of our world via the world that gave birth to modernity. It is much like an American postmodern book, except it is very different from, say, a Pynchon or a DeLillo since it is carried along by Álvaro’s very Mexican wit and sensibility, as well as his own intuitive logic. His books are at once morbid and celebratory, somber and slapstick, historic and very much about the present. Precisely how Álvaro reconciles these opposites indicates his unique contribution to our world of letters.

— Scott Esposito in the introduction to our interview with Alvaro Enrigue. You can also read our review of Sudden Death.

Tender by Belinda McKeon

Her new novel, Tender (Lee Bourdeaux Books, 2016), hailed by The Guardian as “richly nuanced and utterly absorbing,” tells the story of shy college freshman Catherine and flamboyant photographer-in-training James, two nineteen-year-old rural exiles in Dublin as they navigate the increasingly intense nature of their co-dependent relationship. It’s a beautiful, claustrophobic evocation of friendship, longing, and the obsessive power of first love.

— Dan Sheehan in the introduction to our interview with Belinda McKeon

The Border of Paradise by Esmé Weijun Wang

Esmé Weijun Wang’s debut novel is a multigenerational epic that begins in postwar New York. Touching on mental health, family drama, and human tragedy, The Border of Paradise is a moving and beautiful book. The New York Times said the novel “is shaped by darkness and the kind of delicious story that makes for missed train stops and bedtimes, keeping a reader up late for just one more page of dynamic character-bouncing perspective.”

The Fisherman by John Langan

Langan’s fiction often involves stories told within stories, and that’s also true of his new novel The Fisherman (Word Horde, 2016). […] Set in the Hudson River Valley, it’s about the friendship between two widowers and a trip they make to a mysterious location, and the ominous history that they uncover along the way. There’s a lot to admire in it, from its depictions of grief and loss to the story it tells about the slow economic decline of the region in which it is set, over the course of the last decades of the twentieth century. Oh, and there are monsters, too–some of the most unsettling imagery I’ve encountered in fiction in a long time, and a strain of cosmic horror that takes the style in a memorably different direction.

— Tobias Carroll in the introduction to our interview with John Langan

The Girls by Emma Cline

What makes The Girls different is how muted the violence is: here, the monster is not women but expectation. The girls ultimately succumb to being who they are wanted to be.

For Cline, though, women are not to be blamed for weakness or for seeking to please. The red hands instead belong to society itself — a churning, unnamed force that pushes everyone toward their end even as the novel draws inevitably closer to the only finale it could have: murder.

— Jeva Lange in our review of The Girls

The Gloaming by Melanie Finn

Melanie Finn’s second novel, The Gloaming, opens with the end of a marriage. The scene is a mutual friend’s home outside of Geneva, and the catalyst for the collapse is a young woman, Elise, who the novel’s narrator, Pilgrim, sees approach her husband while the three are on a group walk. Pilgrim continues on ahead of the pair, and she looks back occasionally to watch them chat. Her husband, Tom, leans toward Elise; Elise covers her face to laugh. They flirt in a “breathless air,” caught in a moment where everything seems “amplified, impulsive,” and yet Pilgrim never interrupts their encounter. It’s almost as if she knows a chapter of her life is coming to a close. […] This is a pure example of a literary page-turner, one that begins with an ending and ends with a new beginning, written by a very smart author.

— Benjamin Woodard in our review of The Gloaming

The Nix by Nathan Hill

Nathan Hill’s debut novel follows professor and failed writer Samuel Andresen-Anderson whose missing mother suddenly comes back into his life as she faces charges over political activism. It is a big book filled with big ideas about American life. The Washington Post said “Hill is a sharp social observer, hyper-alert to the absurdities of modern life” and People said it was “as good as the best Michael Chabon or Jonathan Franzen.”

The Vegetarian by Han Kang

Flesh permeates the work of the novelist Han Kang. Her novel, The Vegetarian, obsesses over it. Unsurprising considering the bulk of the story follows Yeong-hye, who, after a disturbing and bloody dream, becomes a vegetarian. Although a strong Buddhist tradition exists on the peninsula, for most, meat is an essential aspect of Korean cuisine and culture, and reflects Korea’s status as a growing economic power. […] Discomfort is what Han Kang does best. Her writing is strongest when she makes the reader linger over difficult imagery or ideas that South Koreans are reticent to broach.

— John William Walker Zeiser in an essay on Han Kang’s work

The Ballad of Black Tom by Victor LaValle

The dedication of LaValle’s book speaks volumes: “To H.P. Lovecraft, with all my conflicted feelings.” Whether The Ballad of Black Tom is approached as a straightforward tale of horror in the early 20th century or as a metafictional commentary on Lovecraft’s own storytelling choices and racism, it succeeds. It also stands as proof that the process of engaging with the conflicted feelings that the work of Lovecraft can prompt can lead to rewarding, emotionally compelling writing of its own.

— Tobias Carroll in our review of The Ballad of Black Tom. You can also read our interview with Victor LaValle.

Veins of the Ocean by Patricia Engel

Patricia Engel’s new novel, Veins of the Ocean (Grove Press 2016), begins with one of the more arresting sequences I can remember. Whenever I’ve recommended the book to a friend, or a colleague, or anyone who would listen, rather than telling them what the book was about, or trying to explain why it was urgent to read now, at a time when our country seems hell bent on dehumanizing the immigrant (and first generation) communities that form its bedrock, I opened up my copy of Engel’s book and asked them to read the first page.

— Dwyer Murphy in our interview with Patricia Engel

Patti Smith Forgets Bob Dylan’s Lyrics at Nobel Ceremony

Smith was accepting on behalf of Bob Dylan who did not attend

Those who believe the Nobel Committee misstepped by awarding the Prize for literature to folk musician Bob Dylan may have had the last laugh. At the Nobel Prize ceremony in Stockholm on Saturday, Patti Smith, performing “A Hard Rain’s A-Gonna Fall” on behalf of the absent Dylan, forgot his prize-winning lyrics.

Patti Smith brings a unique blend of worldliness and wonderment to all that she does, and this performance was no different. She sang with deep feeling, making the song her own but nodding to Dylan’s famous 1963 recording with vocal intonations that never risked impersonation. When she stumbled over the second verse (are the babies bleeding or was it the hammers?), she apologized to the audience, saying “I’m sorry. I’m so nervous.” Her apology seemed intimate and honest, as if she were in front of a room full of friends, not 1,500 tuxedos. The crowd applauded encouragingly, as if to say, “That’s okay! The words don’t really matter anyway!” Which is ironic during a ceremony bestowing literature’s highest honor upon those very words.

The truth is her moving performance hardly suffered from the bungle. That the exact words don’t really matter is categorically true of folk music, where traditional songs are revised and adapted according the time, place, and musician. And who does remember all the lyrics to “A Hard Rain’s A-Gonna Fall”? We remember the feeling: a prescient warning of deserved doom; a series of observations forecasting biblical punishment. It’s the sentiment of the song, not the exact phrasing, that has remained relevant and gripped our attention for decades.

To Search or to Be Silenced

There’s a point in Searching for John Hughes when Jason Diamond decides to stop searching. He sits in a diner inside an old barn, in a tiny town in northeastern Pennsylvania, with a runny omelet and a breaking resolve. He’s looking for Michael Schoeffling, the actor who played Jake Ryan in Sixteen Candles. Shades of Jake Ryan come up a lot in the book: Diamond thinks he’s “suburban perfection” and generally represents the kind of tall, tanned, perfect-haired guy that Diamond never was in high school. But the actor, Michael Schoeffling, receded from Hollywood after Sixteen Candles, moving to a sleepy town to build furniture and, presumably, not talk to anyone about John Hughes.

The book opens in the inverse: Diamond has fled Chicago for New York, where he wants to call himself a writer. He works as a line monitor (or cupcake bouncer) at Magnolia Bakery in the West Village, and takes solace in the fact that no matter the state of his career, at least he’s made it to New York. He’s safe here from what tormented him in the suburbs of Chicago — until a Jake Ryan figure from high school comes into Magnolia that night and finds him. In this scene, it’s viewed as invasive — the reader wants to think, ridiculously, shouldn’t New York be a city for artists fleeing suburbia, not those who thrived in it? — and leaves Diamond feeling exposed. At the diner in Pennsylvania, he seems to have just realized that he has switched roles: now he is the one invading upon Jake Ryan’s life.

Diamond became obsessed with the films of John Hughes early on, subscribing to the gospel that his films conveyed the truth of adolescence:

I expected some heartbreak and bad moments here and there, but I truly believed adolescence was going to be this magical time where everybody looked good. I thought turning thirteen was when my life would start to look like a John Hughes film.”

Even though it’s untrue in his case, Diamond still holds them up as a vision of what high school should be like. After a rough childhood with stints of being homeless, he makes his way to New York, holding down a series of menial jobs and trying to figure out how to become a writer. One night he’s out to dinner with another Jake Ryan figure from his childhood, a very genuine but annoyingly perfect guy named Reid, and impulsively tells him, “I’m writing the unauthorized biography of John Hughes.” After he says it out loud he thinks, that could work. In zippy, relatable prose, full of fervently realized memories and antics straight out of a rom-com, Diamond details the next five years as he attempts to write, perfects his latte art, and tries obsessively to find John Hughes.

The book gives equal attention to Diamond’s twenty-something plight of scattered biography-writing, and his troubled past in Chicago, where most John Hughes movies are set. We can see why he’d want to withdraw into the world of John Hughes, a universe of happy last scenes and golden homes: after his parents divorced, he was shuttled between his mom and his dad, his dad physically abusing him until his mother won sole custody, his mother eventually abandoning him, leaving him to shuffle between friend’s houses and all-night diners, off his medication and very alone. When he is taken in by a family as close to perfection as he can see, he’s eventually kicked out after he falsely takes responsibility for impregnating their daughter.

His family life leaves much to be desired, and the actual events are fairly horrifying: so it’s a wonder that Searching for John Hughes doesn’t read as horrifying. Even as he details suppressing the pain from the bruised kidney his father gave him, the way he would drink endless cups of coffee so he could stay in a diner all night without nodding off, the day that his mother tells him that she’s moving to South Carolina without him, it doesn’t feel maudlin or melodramatic — perhaps because in those moments, he’s actively receding into his fantasy world, and he allows the reader to, also. After being kicked out of his father’s car and made to walk home, Jason doesn’t wallow in his pain or the fact that his father is both abusive and absent, but instead looks up at the streets and trees surrounding him in the Chicago suburbs, connecting them to the suburban idyll of John Hughes movies. After his mother leaves for South Carolina, he spends one last morning in his house, looking up at his bedroom walls, thinking almost optimistically of how things will turn out now that he’s on his own:

“It would be an adventure,” he thinks, “like…Macauley Culkin in Home Alone.”

It’s as if he knew to protect himself from their disappointments by reframing the situations immediately.

One of the most devastating moments, one that comes without warning, is when he sits around a solid oak dinner table with family that took him in, after taking responsibility for the daughter’s pregnancy. “Their house was what I’d imagined Jake Ryan’s home looked like when his classmates weren’t trashing it during a party,” he says earlier. As he’s being lectured by the father about the pregnancy, he twists the ends of his frayed corduroy shorts around his finger, looking down and nodding. It’s telling that one of his most potent sorrows comes at the hands of another family. It’s not that this slight is at all worse than the ones at the hands of his mother and father, but it’s almost more of a betrayal because it comes from a picture-perfect family — one that could’ve been painted by his idol. After being given a chance to enter one of his fantasy families, that too became tarnished. It’s another hole poked into the John Hughes formula he so revered, one held up a lot of the time by stereotypes.

Tropes are important in Searching for John Hughes, as they are in his films. The Breakfast Club is about finding and dissembling stereotypes: the brain, the athlete, the basket case, the princess and the criminal. The famous last lines are, “What we found out is that each one of us is a brain, and an athlete, and a basket case, and a princess, and a criminal.” Sixteen Candles ends with the outcast getting the athlete, and the prom queen smiling at the nerd. John Hughes worked hard to mash together tropes, showing that they weren’t what they seemed. But this is a lesson it takes Diamond a long time to learn, as he casts himself as the weirdo, or the basket case, and continues to resent the Jake Ryans long after high school.

Titling himself as a weirdo, or basket case, or skater provides him with a set identity: carrying his skateboard everywhere gives him a certain kind of shield, even if it’s mostly under his arm. His other armor is the world of John Hughes movies, his nascent writing career, his goal to write the biography (said out loud more than acted upon). Rather than taking solace in a home life, he found comfort in those movies that he knows so well; rather than seeing his family at Thanksgiving, he’d watch Planes, Trains, and Automobiles every year. He buried himself in the myth of the director who has created much of what he loved and when he finally lets go of his obsessions, it’s because he no longer needs their protection.

Trying to find the secrets of the man who got him through his adolescence gives him a meaning and a mission, and even if his end goal changed, it gave him something to drive him through those years and find out that there is life after high school, the fictional version and the real one.

Me, My Anger, and Jessica Jones

We were five minutes into the first episode of Jessica Jones when my husband asked me if I was going to be okay. It was right about when Jessica watches Luke Cage from a fire escape. While that scene isn’t especially triggering, it was still a valid question. As early as it was in the show, it was already pretty clear that Jessica Jones has PTSD, which, coincidentally, I had just been diagnosed with. More to the point, Jessica Jones is mad.

“You look angry. Are you okay?”

I can’t tell you how many times I’ve heard that from lovers, partners, friends, my parents, strangers on the street…. And yet, no matter how many times I heard it, the question always surprised me.

“I’m not mad. I’m fine.”

Denial. Reassurance. Always aimed at the questioner, though the real target was me. I had to be fine. I couldn’t not be fine, and I certainly couldn’t be mad for no apparent reason. If I were to contemplate how angry I actually was, I would have to acknowledge why, and that was something I spent the better part of my life trying to avoid.

If I were to contemplate how angry I actually was, I would have to acknowledge why, and that was something I spent the better part of my life trying to avoid.

I was molested when I was four. Molested. I hate that word. It’s ugly. It’s confrontational. It’s blunt. It’s uncomfortable. It’s also true, which is why I’ve left it in. It would be much easier for me say that I was abused. Abused is comfortingly vague. It implies terrible things without going into details. Molested, by comparison, is specific and precise. It gets up in your face, which makes it far more germane, in this case, than abused.

The revulsion I feel for that word is a microcosmic slice of the anger people have always asked me about. The anatomy of that anger is both complicated and specific. It’s an anger that was never just anger, but a humiliating mixture of anger and shame (another word I hate). This very specific anger hardwired my brain when I was so young that it became a permanent part of my emotional landscape, which made burying it so easy that I didn’t know I’d done it. It’s like the difference between climate and weather. Anger was my climate while sadness, happiness, worry and the rest passed through like sunshine and storms. Compared to the consistency of climate, weather is conveniently distracting, so I ignored my anger for decades, until a series of realizations forced my perspective to shift.

Anger was my climate while sadness, happiness, worry and the rest passed through like sunshine and storms.

These realizations were subtle and seemingly unconnected to the molestation. Social injustice, dystopias and stories of wrongful imprisonment made me physically ill. But while they don’t have anything obvious in common, they all explore aspects of the same thing — powerlessness in the face of emotional, social or institutional violence. While not the most obvious trigger, powerlessness underpins the trauma I experienced as a child, as well as the anger that grew out of it. Now, in hindsight, it makes intuitive sense, but no matter how many times I was triggered, it would be years before I could face it. I became an expert at denial, helped, in large part, by the fact that I looked nothing like trauma victims in pop culture and TV.

When I was growing up in the eighties and nineties, characters with PTSD weren’t what you’d call well developed. They were more like paper dolls than people — two-dimensional figures that furthered a plot, usually through addiction and flashbacks. I’m not a veteran, I’ve never had flashbacks and I’m lucky enough not to struggle with addiction. In short, I don’t fit the stereotype, so it was easy to dismiss trauma as the cause of my issues — hyper-vigilance, panic, depression, disassociation, and, yes, a big, black ball of anger.

I don’t fit the stereotype, so it was easy to dismiss trauma as the cause of my issues — hyper-vigilance, panic, depression, disassociation, and, yes, a big, black ball of anger.

The denial I kept myself in was a critical, if self-defeating, survival skill. Deep down, I knew something was wrong, but every time I failed to look like a rape survivor on Law & Order, I breathed a sigh of relief. According to that reassuringly broad diagnostic I had nothing to worry about. I couldn’t be traumatized. I was just being dramatic. I had nothing to compare myself to, which is why Jessica Jones resonated when nothing else had.

Specificity is critical when you’re dealing with real life trauma, and equally important in fiction. Two people could experience the same abuse at the same hand, and suffer vastly different effects. Flight vs. fight. Avoidance vs. confrontation. Anger vs. despair. Temperament and background determine posttraumatic stress as much as the trauma itself. That’s why stereotypes don’t work. It’s personal and deeply specific. Marvel’s Jessica Jones is a revolution of specificity. Not only does it feature complicated characters dealing (or failing to deal) with posttraumatic stress in multiple forms, it does so, somewhat ironically, by mining one of trauma’s few universal components — powerlessness in the face of a threat.

That’s why stereotypes don’t work. It’s personal and deeply specific. Marvel’s Jessica Jones is a revolution of specificity.

Whether it’s an abusive relationship or a landmine, the emotional hook in most traumas is the fact that something bad happens and you’re powerless to stop it. It’s a visceral, sickening, inescapable shot of cosmic vulnerability, which, for most people, is profoundly upsetting. While everyone responds differently in the aftermath, survival isn’t something the victim can control, and that loss of control is disturbing. It turns violence into trauma. It’s why Kilgrave, the villain in the first season of Jessica Jones, is so brilliant.

Kilgrave is a sociopath with the superhuman ability to control the wills of others, which basically makes him the personification of psychological trauma. If Kilgrave tells you to put your hand in a blender you do it — he overrides your ability not to. He could make you kill someone, or put a bullet in your head. He could turn you into a druggie, or his personal slave. He could tell you to smile, or eat this, or wear that. He could tell you to love him, and you would.

Kilgrave commandeers his victims by bending them to his will, which makes the damage he causes while pursuing Jessica Jones amazingly varied and widespread. He’s the uniting factor in every single bad thing that happens on the show, but rather than gloss over his psychological effect, (as many shows have done), the loss of control his victims endure highlights the individuality of each character’s response. Some seek revenge, while others try to heal. Still others buckle under the weight of Kilgrave’s manipulation. Everyone comes away from the same baseline experience, but the portrayal of each character’s reaction in the aftermath is painful and realistically personal.

Kilgrave is a sociopath with the superhuman ability to control the wills of others, which basically makes him the personification of psychological trauma.

Into this lands Jessica Jones, a sardonic underachiever who survived the death of her family as a teen. When Kilgrave develops a fascination with her superhuman strength, he overrides her will, gas-lights her and systematically rapes her. When she finally escapes, she is the Jessica Jones of the show — cold, traumatized and profoundly angry. Twenty years ago, her backstory would have been used to explain her drinking and her spectacular issues with intimacy. It would not have driven the plot of the entire first season. It’s a lot to ask of a traumatic event, but the show pulls it off, not because Jessica Jones is angry, but because she’s angry in complicated ways.

There is nothing generic about the feelings this character struggles with. She’s callous and hostile, but she also has a moral imperative; she isolates herself while working a job that forces social contact; she barely sleeps and she drinks a lot, but she also recites street names during panic attacks. She feels tremendous responsibility for the things she did while under Kilgrave’s control but rather than paralyze her, guilt fuels her to positive action. Like all of Kilgrave’s victims, she’s a fully rounded person who experienced the fundamental violation of her will. The difference with Jessica is that, as the show’s protagonist, her trauma contextualizes everyone else’s experience, underscoring the specificity of posttraumatic response.

Jessica Jones is paranoid, angry and disassociated, but she’s also violently engaged in life. She never denies her trauma, nor does she use it as an excuse.

Jessica Jones is paranoid, angry and disassociated, but she’s also violently engaged in life. She never denies her trauma, nor does she use it as an excuse. She goes on the offensive and attacks its source until it no longer exists. It’s the ultimate survivor’s fantasy — take back the power you lost by destroying the thing that took it away. It’s a powerful message delivered without compromise or apology over the course of an entire season. Given my background, Kilgrave’s brand of evil should have triggered me in a million different ways, but Jones’s grim defiance neutralized the effect of what should have been a minefield. That’s why, when my husband asked me if I was going to be okay, I honestly said yes.

Anger is not an attractive emotion. As social creatures we’re conditioned to deny unattractive emotions, but Jessica Jones does not. She allows her anger to fuel her — not always a sympathetic choice. That’s a rare thing in a protagonist, especially a woman. Just as I hate the word “molested” and avoided it for years, I avoided my anger for similar reasons — it’s uncomfortable and ugly. It’s less than sympathetic. It’s also a natural response to trauma and, as negative as it seems, it can have positive effects. Watching Jessica Jones harness her anger (to both good and ill effect) felt like witnessing a sea change, not just in how women are portrayed on screen, but in how popular media engages posttraumatic stress.

Jessica Jones allows her anger to fuel her — not always a sympathetic choice. That’s a rare thing in a protagonist, especially a woman.

I will never hunt down my Kilgrave. That person is long gone, and even if I could, the damage has been done. I know what it is to be powerless. I know how it feels to be angry when your life is basically good. I know the grind of trying to live with those feelings, and the self-imposed strain of protecting people from them. Watching Jessica Jones didn’t validate those feelings (I had to do for myself), but it did do something important. It mirrored the anger — the very specific anger — people had always seen on my face. Once I’d seen it, I had to acknowledge it. Once I had acknowledged it, I was free to move on from there.