Frightful Small In Here Tonight by Annie DeWitt

Callie kept a frozen chicken in the cupboard over the sink. The mass of flesh was stacked on the pile of china next to the whiskey and the boxes of bullion. She kept a styrofoam tray wedged between the plate and the bird to catch the runoff from the thaw. It took a day for a bird like that to shed all its ice.

The evening after the bonfire at the butte, Callie had invited us to a meal. Birdie and me and Father with her husband, The Little Wrestler, and their three young brutes.

It was late in the afternoon by the time we arrived. The previous night was still heavy on us. I could tell Father felt it too. “You look tired, Jeanie,” he said as we got out of the car. “Why do you look so tired?”

When we arrived we gathered around the little table in the kitchen and watched Callie prepare the meat. Never has a woman performed such surgery. The way she massaged that carcass you would’ve thought she was trying to resuscitate some old heart. After each of the cuts was slick with dressing she floured both sides with a grainy cornmeal.

“Test the fryer for me, baby,” Callie said to me, motioning toward the pan once she had one breast good and white on both sides. “Toss a little water in with your fingers and see if it sizzles.”

We were there under the auspice that Father knew something about pipes. There was a clog in her disposal. Callie said she thought one of her boys had stuck an action figure in there again. “They’re trying to replicate war,” she’d said when we’d come in motioning toward the battlefield in the living room. Apparently the disposal gave a good mangling to the leg.

“What do you make of my handiwork?” Callie’s husband said to Father as he came into to the kitchen. “I was just under there myself a few days ago.”

“A fine job,” Father said where he lay on his back with his head under her sink. “I’ve never been much good with my hands. Just thought I’d lend an eye to it while you were out.”

“Don’t they teach you professor types which way to turn a screw in law school?” the husband said.

“Rick’s an engineer, Dan,” Callie said looking down at Father as he pulled himself out from under the cabinet.

“That explains why he’s fixing my drain pipe,” the husband said.

He laughed then. “Next time she’ll bring in a damn preacher to teach our sons to shoot hoops. If you need me I’ll be out in the yard with the animals.”

Dan let the screen door go behind him as he made his way out back and into the yard. It slammed a little on its hinges. The spring was still tight.

“Why don’t you put all that away now, Rick,” Callie said gently. “I’ll get you a clean towel.”

“I suppose it would be good to freshen up,” Father said, brushing his hands against his knees as he righted himself in the tight space of the kitchen, ducking so as to avoid the low-hanging lamp.

“Let them golden,” Callie said. She handed me an old plastic spatula and motioned toward the chicken where it popped and fizzled in the pan. Father followed her down the hall toward the bathroom off the kitchen.

I watched Dan through the window over the sink as he made his way into the yard. There wasn’t much anger in him. He had a flatfooted way of walking that betrayed a low center of gravity. According to Otto, the old farmer who lived across our road, Dan had been a wrestler. Callie had met him while he was out on the circuit. Otto had raised her as a child when she’d gotten into some trouble she couldn’t get out of. “Back then she would follow anything around with a Harley and a helmet,” Otto said. “First it was the rock bands, then the bikers. Eventually she landed with a crew of wrestlers who frequented the bar where she worked. Dan was a little man. It was all she could do to show herself off to him.”

The way Dan shot hoops now with his sons you could tell Callie had taken so much of the lay out of him. He had that short guy’s way of aiming high such that the ball bounced off the backboard and rebounded on the front rim before meeting the hoop. He tossed one after another like this. I’d seen carpenters nail a board with more energy. Maybe Dan was a bird lover after all.

Their house was a one-story ranch. It sat a good way back from the road on a plot of land next to the commuter highway. An old swing-set floundered in the front yard. One of the swings was broken. They’d strung it up short with the chain. In back there was a tool shed which they’d turned into a barn where they kept a few chickens and a small brown cow. In front of the barn they’d poured a square of blacktop. At the end of it stood an old basketball hoop. Several dirt bikes were parked in the knoll under the tree next to the little barn.

My sister Birdie was out there on the blacktop with Dan and his sons.

“You get too close to the thing,” Dan yelled as the largest of the boys landed under the hoop, bending backward and hurling the ball over his shoulder with a clumsy underhand. While the boys shot around, Dan took Birdie up on his shoulders. Every third throw he’d walk her over to the hoop and let her shoot. Birdie reached for the rim like she wanted to hang for a minute. One of the older boys came over and lifted Birdie up under the arms until she was standing on his shoulders. He stood under the hoop while she lunged for the rim. She made the catch and hung like that for several seconds, pumping her legs every now and again.

Down the hall Father ran the water in the bathroom. As the faucet clicked off, Callie called out to him. “I’m in here if you need a towel.” Father followed her voice in his flatfooted shuffle. I could hear him lumber into the hallway and down the hall a few strides. He paused and then turned. I waited for a few minutes, listening to the chicken fry. The flesh was still pink in the middle and good way away from being cooked through. I put the lid on it and slipped down the hall after Father.

Father had left the door to the bathroom slightly ajar. The window above the toilet was shaded by the yellowing lace of a curtain covered in a layer of dust. The bathroom itself was from another era. Thick yellow and black tiles lined the backsplash. The linoleum around the sink was worn away and brown in patches. A room spray glowed a sea sick green where it was plugged into the wall. The muted blue acrylic of the shower stall — clearly a recent addition — shone in contrast to the faded 70’s veneer. Around the mouth of the tub lay an assortment of plastic action figures. A single naked Barbie hung upside down from a string around the spigot over tub. I wondered which of Callie’s young brutes played with the doll in his bath.

I flattened myself against the wall and peeked around the corner. Through the doorway to the bedroom, I saw Father standing at the foot of the bed. Callie was bent over, rifling through the top drawer of her dresser. Father watched her in the mirror, admiring her cleavage. “I thought I had an extra towel in here,” she said. As she slid the drawer closed, Callie turned around to face him and tugged at the string of her dress. The dress fell open, revealing the flat tan of her stomach where I had seen her rub oil so many times those mornings she sunbathed on Otto’s lawn. I watched as Callie’s lithe form moved across the room toward Father as though in slow motion. I waited for him to stop her.

When Callie was just in front of him, inches from his face, she stood with her feet shoulder width apart. She reached for Father’s hand, moving it up to her shoulder, pausing for a moment to trace the outline of her breast. I watched as she slid the strap of her bra down the curve of her arm. The rosacea on Father’s forehead flared as it often did under stress. Callie eased her way into him and pushed him back on the bed.

As their bodies met the mattress, the waterbed gave way beneath them. The movement seemed to momentarily revive Father. He put one hand on Callie’s chest and pushed her slightly away from him. With the other he reached behind the small of his back. “There’s something underneath us,” he said. From behind his back Father produced a plastic action figure. The toy was missing a limb. Father held it in front of his face. “I told those boys not to play in my bed,” Callie said. “No harm done,” Father said placing the toy under the lamp on the nightstand beside a bottle of antacids. Beside the bottle sat a book which read The Dance of Anger and an empty wine glass stained red at the bottom.

“I’ll just wait for you in the kitchen, then,” Father said. “I’ll check on the chicken.”

“Wait,” Callie said.

I slipped away from the door and tiptoed down the hall.

The chicken was burnt and slightly charcoaled on one side. “Something smells mighty good in here,” I heard Father’s voice call out.

As he came up behind me, Father put his arm around my shoulder as though to steady himself. “Good girl, Jeannie,” he said. “I can always count on you to take up the slack in a pinch.”

As Callie came into the kitchen, I felt Father stiffen. “Let me at least set the table,” he said picking up a stack of plates. Callie reached for her pack of Marlboro Reds on the table where she’d left them next to the chopping board. She picked up the pack and flicked the top of her nail several times against the bottom as though to tamp something down. “It’s your call,” she said.

As Father disappeared into the dining room with the plates, Callie turned toward the stove. “Dinners on,” she yelled casually to the boys out the window over my shoulder. As Callie exhaled a long deep drag of smoke, Birdie let go of the hoop where she hung. It was Dan who inevitably made the catch, cradling Birdie in his arms as he walked toward the house. In the light of the flood, the two looked triumphant. Birdie’s blonde ringlets spread out over his shoulder. Her hair gleamed against the red flannel of Dan’s shirt.

“Who’s ready for some bird?” Father said as Dan and the boys came into the kitchen from outside, drying his hands on the side of his pants.

We ate in the dining room, a small square set of oak erected in an alcove off the kitchen. The walls were papered in a faded pink floral. The floor was carpeted in a worn orange shag. Save the vintage chandelier Callie had erected over the table, the room had the feel of having once been something else, a nursery perhaps.

“Yes to everything,” Father was saying, “That’s the problem with kids these days. They’ve never been told no.”

Father was telling Dan about his trials with the Steelhead brothers who lived at the end of our road. Lately they’d been calling the house at night and hanging up the phone. Liden was onto Fender and I about the magazines we’d been stealing.

“Oh, I don’t know,” Dan said. “Boys will be boys. If you burn too much of the fist into them they turn into a pack of wailing sissy’s. And there’s nothing I hate more than a sissy.”

“Right,” Father said crossing and uncrossing his legs. “Well I suppose it’s different. I’m surrounded by a house full of girls.”

“Lucky man,” Dan said, smiling at Father. “I suppose there’s always room for another in the mix. Isn’t that what you’re up to here.”

“You’re insufferable,” Callie said to her husband under her breath. She looked proud of herself. Her cheeks flared a little under the bone.

“When’s the last time someone said no to you, Rick?” Dan said to Father.

After dinner, we all went out into the yard to feed the yearling. The cow was waiting for us at the gate near the shed. They’d set him loose in a small run which they’d patched up out of an old white slat board fence and patches of chicken wire.

“Sturdy little fellow,” Father said, holding Birdie up over the fence so that she could reach him.

“The way that thing is growing, we should have steaks by fall,” Dan said.

On the way home Father was silent.

“He used to be a wrestler,” I said after a while. We were sailing down the big hill on Merriam then past the farmhouses in the center of town.

“Reach into the glove compartment,” Father said. “Give me one of those cigars.” He didn’t hesitate to light one as he drove.

When we got back to the house Father settled into the couch in front of the news. “I’m going over to Otto’s to check on the Sheik,” I said.

“What time is it now?” Father said looking out over the porch at the amount of light left in the sky. “Alright, so long as Otto’s over there in the barn mucking the stalls. Be back before bed. And take the flashlight with you so I can watch out the window when you cross the road.”

Light blasted through the stalls that lined the front of Otto’s barn. It reminded me of an old movie theatre, each window screening a different run. I ran toward the barn, flashing the light once behind me so Father could see. It was good to be free of all that.

When I came in, Wilson, Otto’s son, was raking the hay out of the aisle. People said Wilson was slow. Mother always said “he’d been touched by something.”

“Hi Wilson,” I said. “It’s just me. It’s just Jean.” Wilson looked up from his raking and focused on me for a minute.

“I went to camp today,” he said. The way he was standing there, belly over the belt, his chest all puffed out, I could tell that today was a proud day for him. It was odd to see such an old man look so young again. He was bald and fat and graying. No less than forty in the light, the way the shadows clung to his face. And yet standing there in the aisle in that moment, his cheeks looked like a six year old’s the first time he hits his first solid ball over the diamond. A good wind comes in from the outfield and brings some color to the face.

“Was she pretty?” I said.

“Yes,” he said. “Daddy’s proud of me. I went to camp and I met a red head. A pretty girl.”

“Your Daddy’s always proud,” I said.

“You’re pretty too, Jeannie,” he said. “Daddy says I like the pretty girls.”

“There’s few things I’m less wrong about then women,” Otto said. I hadn’t seen the old man standing there at the far end of the barn. He must’ve been in the tack room when I came in settling the evening’s chores. I knew him to go there occasionally when the feed was on and the horses were settled for the night. I’d walked in on him one evening sitting at the draftsman desk he’d bought for His Helene back in the days when his wife still kept the books for the riding lessons which they ran out of the barn.

Otto’s face that night had that drawn, wan look that accompanies sleeplessness and other privacies of the mind. I went to him out of pity.

“Tell the story again, old boy,” he said to Wilson as I snuck up under Otto’s armpit, wrapping one arm around his waist.

“What story?” Wilson said.

“The one about getting chased,” Otto said, draping his arm over my shoulder with some confidence.

Otto’s body was fit for a man of his age. It had that taut tension that comes from the inhalation of a parent thrilling over witnessing some act of their child’s bravery.

“I went to visit the red head in her cabin today,” Wilson said.

“And who caught you, son?” Otto said, egging him on.

“The counselor,” Wilson said. “He chased me out with a broom.”

“And what did you tell him when he chased you?”

“I told him my Daddy said I like the pretty girls.”

“That a way, son,” Otto said. “You old bastard you. You’re just like your old man.”

I looked up at the light in Otto’s eyes. Something was rising in them, some old glory which he’d once thought fondly of and now recalled. They were laughing. The pride was rising up.

“That was a good one,” Wilson said.

“It sure was,” Otto said. “I’m proud of you. You might be ugly as shit but at least you’re still chasing tail.”

The two were laughing together then. There was something in the way Otto laughed, his body doubled over, leaning forward toward his son standing in the thin light down the hall, that made me realize that this was something he’d been deprived of for a long while, the ability to look forward to connecting with his son one day as a man. He glimpsed that for a moment. It felt damn good. They both felt damn good.

“The counselor said he thought he wanted to rape her,” Otto said between breaths. He was laughing so hard now he seemed almost to be sobbing. “I got a call this morning. Can you imagine. That dim wit actually thought my son had enough man in him to rape that girl.”

Wilson took his father laughing as a sign of encouragement.

“Rake a girl,” he said. “My Daddy says I’m gonna rake a girl.”

Wilson took the rake in his arms and started spinning with it. He almost looked light on his toes, like someone had dropped a harness around his belly, lifting him up toward the rafters and lending him some grace and spin.

“Maybe I’ll rake you, Jeanie,” he said. “You’re a pretty girl too.”

Otto was chuckling all the way to the house. His arm was heavy on my shoulder as we walked. After all that laughing, he seemed to have given up on something of the evening. I looked at the stars over top of us and thought of Wilson dancing in the barn and the sight of the power lines over Bluecreek. I thought about asking Otto what Wilson had meant by all that in the barn.

“Back to work now, son,” he’d eventually said to Wilson when he got the air in his chest again. “That’s enough of that.”

“Will you be alright then?” I said to Otto.

“Right as rain,” Otto said. “Why don’t you come in for a minute and see if you can make that old piano play again.”

The piano was a small upright Otto kept in the backroom near the porch. The top of it resembled a bench from another era, a resting place where all the old faces still sat around and kept watch on the day. It was lined with frames and trinkets, things from an age when his wife, His Helene, had still been working her hand and saying her say over her two boys. The collection had the feel old albums do when you put all the best moments together despite the shit faces and gap teeth.

I started in on a sonata, quietly and without much breath at first. But then with a good bit more confidence as I went. There was a seriousness about Otto which I respected enough to employ. His was not a soul easily turned over.

I looked over my shoulder at one point while I played. Otto was sitting in the recliner. A peacefulness had invaded his face.

I hadn’t seen His Helene in the other room watching. She was sitting in her wheelchair with her feet in a bedpan. Here you are, she seemed to say, a bit of my letting go.

There I was, all these trinkets of hers, and her husband’s eyes, boring into me. By the time I got to the final movement I knew something of her inner life. I tried to tell it just as I heard it. Strong faithful chords. Easy on the flutes and the runs. I wanted so badly to splay the notes in her good conscience.

“You’ve been lonely then too,” His Helene said from the other room, when I had finished.

I went to her then, kneeling down at her feet and putting my arms on her legs. I tried to be rough with her when I could to remind her that she was still a woman.

“Do you want to go for a stroll, Helene?” I said.

“Sure do, darlin,” she said. “It’s frightful small in here tonight.”

We bundled her in the old fur we found in the front closet and all Otto’s gear, her throat every bit covered. On her head we put the old coon hat Otto wore riding in the winter. Wilson donated his glasses to shield her eyes. “We can’t let the wind take those, now can we,” Otto said affixing them to her face. “There’s no natural tears left.”

It was true. I’d put the drops in. What water His Helene had left in her had congregated in her feet. They were bulbous and bloated. The doctor said next it would move to her heart. That’s what would take her. That one big rush of her own stream.

She took her grapes with her. I put them in a small blue bowl which I wedged on her lap. In a panic His Helene liked to feel a frozen grape on her tongue. The nurse had shown me how to place it.

Otto took the flashlight. Together we rolled her out into the night. He’d built a ramp off the back porch which she’d used to wheel herself out to the barn when she’d still had some strength in her arms.

“Take her around front,” Otto said. “I want to show my wife off one last time even if there’s no one to see her.”

You could tell it took too much out of him to push. He wanted to run alongside and watch the fear being lifted from her face. I broke into a steady jog after we cleared the drive. The shadow of the branches overhead splayed out on her lap. I watched them move over her as we ran. I wanted to get her heart going for him.

“Go, go, go,” His Helene said.

After a few laps, Otto sat on the porch and held the light for us. We made a few more runs in front of the houses. I wondered if Father was watching as we passed. I wondered if someday I wouldn’t be doing this with him too.

When we feared the cold would take her, we took her in. As we undressed her, His Helene started to panic. She could feel the gravity shifting. The water in her feet had begun its migration.

Otto went for her box of shots in the freezer. Some high altitude sedative. That kind of devil had to be kept fresh. Once the needle was under the skin, His Helene looked peaceful. We laid her out on the pullout in the front room. She slept on the ground floor of the house now. Otto feared she’d fall down the stairs. The other night she had managed to push herself out of her bed and take a few steps. After that she’d crashed into the bookcase. Otto found her on the floor struggling to lift her face out of the carpet. She’d fought him off kicking and wailing.

“You’ll suffocate yourself,” he’d said.

“Who says I’ll let you kill me like this,” she’d said.

Otto wouldn’t get a night nurse. He said people wait for everyone to leave a room before they die. “Sometimes,” he said, “I pace the house just to give her room to slip off.”

Once His Helene was quiet we went out onto the front porch to get some air. Outside there was a weightiness between us. I stood next to Otto on the mat that lined the front door looking out at the road.

“What do you do,” he said, “when there’s almost no one left.”

The way he took me in his arms, pulling the small of my waist into his belt, I felt the sudden surging up of all the ways I’d wanted to be needed. I saw Mother in Father’s arms that morning they’d danced next to the drain board in the kitchen. I saw Callie push Father into her bed. And too, I saw everything of His Helene. I tilted my head back. He was careful with my lips.

Afterward, Otto took my face in his hands and turned it sideways examining my profile under the gloomy spin of what was left of the porch light.

“You have a long nose,” he said.

“It belongs to my mother,” I said.

“It’s good to know what belongs where,” he said.

End

Planes Flying over a Monster: The Writing Life in Mexico City

We’ve asked our favorite international authors to write about literary communities and cultures around the globe. Their essays make up Electric Literature’s The Writing Life Around the World series. This month’s installment is by the Mexican writer, Daniel Saldaña París. His novel, Among Strange Victims, was recently released in the U.S. by Coffee House Press.

I get so close to the airplane window that my face is almost touching it. We’re flying over the city. I play at identifying the buildings: the World Trade Center, formerly known as the Hotel de México; the Torre Latinoamericana in the distance, marking the border of the Centro Histórico; the Reforma 222 shopping mall, which a few years ago, before I emigrated to Canada, I would pass every day on my way to my job as an editor.

I haven’t been in Mexico City for twelve months, and all I can think is that it’s horrible, and I love it. This contradiction is perfectly common; all of us chilangos have felt it at one time or another when spotting the monster from afar. I think of all the times I’ve seen the infinite ocean — of city streets, gray houses and dirty avenues — spread itself at my feet as I sat on a plane. Every time I’ve landed in Mexico, I’ve felt this same mixture of repulsion and enchantment, this movement of attraction and rejection.

This dual impulse was felt, too, by Efraín Huerta, who in 1944 published his “Declaración de amor” (“Declaration of Love,” namely to Mexico City) in a book that also contained one of the most beautiful and dead-on texts ever written about Mexico City, “Declaración de odio” (“Declaration of Hatred”). I sometimes read the second poem aloud, exulted, as a way of recalling my roots: “We declare our hatred for you perfected by the force / of feeling you more immense each day, / more bland every hour, more violent every line.”

Ten years ago exactly I landed at Mexico City’s Benito Juárez International, the airport we’re approaching now. I was returning from Madrid after four years in Spain. I was a young poet, aged 21, and had a grant from the Mexican government to write my first book. I had never lived in the city as an adult, but a fireproof arrogance — characteristic of young poets — made me trust blindly in the future.

It was October 2006, and I settled into a small apartment in the Colonia Roma district, which back then wasn’t so ridiculously gentrified.

To enter my block, a precinct of plants and caged parakeets, you had to pass between a synagogue and a piano repair shop. The soundtrack of my life during those years was a strange mix of Jewish music and atonal experiments, like a John Zorn composition arising spontaneously from the streets. An odd architectural whim had left the short hallway between my living room, bedroom and kitchen open to the sky — roofless — and so when it rained I got wet just moving from one room to another.

I had very few belongings: an orchid taken from my mother’s house, a handful of poetry books and a cafetera italiana — a moka pot. I lived on quesadillas, sex and canned beer. I’d sit in a little wooden chair in my roofless hallway, facing my orchid, and write poems on an old laptop. I knew no one; no one knew me. The Distrito Federal (which in the meantime is no longer called the Distrito Federal) was a cluster of possibilities.

Before long I got to know some other poets through the grant I had. I danced with them and fought with them, I loved them, I got drunk with them, we traded insults. The things that young poets in any city do — and that, paradoxically, make them feel unique. I felt unique listening to the piano tuner’s imperfect notes as I danced in the roofless hallway of my little apartment, in my indoor rain.

I’ve spent two weeks in Mexico City since that landing at Benito Juárez International — since the moment when I thought, like Efraín Huerta, that I love and hate this city. Two weeks of going out every day, of coming back at dawn, drunk on electric light and intensity, smog and tequila. Two weeks in the strange parenthesis that is this visit to my birthplace after a year living abroad.

Jorge, Benjamín and I are lying on the roof terrace, watching the sky and talking. Every once in a while the noise of an airplane interrupts our conversation. The district we’re in, Colonia Narvarte, lies under the traffic pattern of Benito Juárez Airport. With increasing frequency after two in the afternoon, hundreds of commercial flights describe an elegant curve over Benjamín’s house before taking aim at one of the ancient airport’s two runways. (It has always amazed me that the names of those runways should be 5L/23R and 5R/23L, as if we weren’t capable of recognizing that there are precisely two of them, and therefore they might as well be called One and Two.)

Three hours ago, Benjamín, Jorge and I each dropped half a dose of LSD. Now, immersed in the hallucinatory lucidity of the drug, we’re conversing with a certain lethargy, interrupted from time to time by the noise of the turbines above us. It’s a Sunday, resplendent and slow. It must be three or four in the afternoon.

Every time the sound of turbines cuts the sky in half, Benjamín, Jorge and I fall silent and watch and listen with all the power of our attention. The plane pokes its nose into our field of vision from the far left, which I imagine corresponds to north, and from there it glides smoothly to the far right, like a hot knife through a block of butter. For a few seconds after the plane is no longer visible from where we lie, its noise echoes. The LSD intensifies the Doppler effect, and I know all three of us — Benjamín, Jorge and I — are thinking of just that: how the sound of an airplane reveals, in an almost scientific way, the curvature of the planet and the exact size of the atmosphere above us.

A little more than a year ago, just before emigrating to Canada, I somewhat unexpectedly took on the leading role in a movie being filmed in Mexico City. I say it was unexpected because I’m not an actor, and I had never worked in the film industry before. But I agreed to act in the movie because I thought it might be an interesting experience — and because I needed the money. Of the two months the business lasted in total, four days’ shooting took place in Colonia Narvarte some ten streets from Benjamín’s house, where I’m lying on the roof terrace and watching the sky. The planes passing overhead during filming were a torture for the sound engineer, who each time lost important moments of a dialogue that was more or less improvised and unrepeatable. Knowing the problems this would create for the editing process, I got into the habit of shutting up whenever an airplane went by. As soon as I’d sense the hoarse sound of turbines in the distance, I’d pause, more or less naturally, and not resume the dialogue until the noise had died away. The upshot was that the director ended up filming takes of up to seventeen minutes without a cut — to the great irritation of most of the crew, who were accustomed to working in a more conservative and expeditious style. This experience made me extremely sensitive to the planes over Mexico City, planes I had been ignoring with relative success for thirty years. Ever since then I’ve been unable to hold a conversation in Mexico City without pausing, however briefly, at the sound of an approaching plane.

Mexico City, Matthew Tichenor, 2009,

I don’t know where I got the cockeyed notion that I might write for a living, but it’s an impractical one to say the least. Nobody writes for a living in Mexico. Or rather some people do, but those are people I don’t know and ultimately have no interest at all in knowing. To live comfortably as a writer in Mexico, you need to have a lot of opinions about soccer and politics — in a very shallow sense of the word politics, you can be sure. The rest of us Mexican writers spend our time sending pitiful e-mails soliciting work or applying for grants, when we’re not laboring obscene hours at jobs somehow related to writing.

I didn’t know any of this when I came to live in the city exactly ten years ago, eager to express in innocent verses my squalid vision of the world while listening to the music of the synagogue and the piano tuner. Back then I believed, with ridiculous fervor, that I would be the glorious exception to the norm. I’d devote myself to writing, and from my roofless hallway in Colonia Roma, I’d gradually conquer the world. Instead I ended up working ten- and eleven-hour days for a magazine, a publishing house, a festival, an independent movie.

Writing in Mexico City is like holding a conversation when you’re under the takeoff and landing path of the city’s airplanes: you have to shut up sometimes, to let the noise take over everything, to let the sky split in two before picking up where you left off. From 2006 to 2015 I tried to be a writer in Mexico City. The sky split in two many, many times during those years.

At first I survived on grants. Now, in Mexico there are grants for young writers which require them to attend workshops led by their senior colleagues. These older writers are, barring some exceptions, people whose only merit is having gotten old. Literature in Mexico is a gerontocracy. The old are praised for surviving to another birthday; the young are regarded with suspicion and treated with contempt. And the workshops, in general, are places where all the edges are filed off a piece of writing, where a text is homogenized until it loses all capacity to wound or bewilder. For three years I lived off grants of this kind, confronting the workshop system with hyperbolic obstinacy.

Literature in Mexico is a gerontocracy. The old are praised for surviving to another birthday; the young are regarded with suspicion and treated with contempt.

But all grants must come to an end — it’s a law of physics. When I started working as an editor at a literary magazine, I thought that it wasn’t such a bad thing to be doing, all things considered. I could write a little during the slowest week, right after an issue had been put to bed. I could request a piece from any writer who interested me. Imagine, they were paying me to read poetry — not a bad gig overall. But this illusion was short-lived: the magazine was (and still is) a nest of vipers. Editing each issue was like dancing with hyenas. Writers close to political power dividing up an imaginary prestige and macerating in the mediocrity of a prose that aspired at best to pallid efficiency. They weren’t all like that, but most were. The editor-in-chief, a well-known liberal, turned against me because I had dared to address him as “tú” rather than “usted” — my damned Montessori education. So finally I left.

Those years weren’t all bad, though. I married a beautiful, intelligent woman, and we moved together to Colonia Narvarte, directly under the landing path of the airplanes. The recurrent sound of turbines became the new soundtrack of my existence, replacing the music of the synagogue and the piano tuner.

Little by little everything got twisted, my vice and my violence stoked by the hypertrophic city. I observed the growth of my alcoholism with tenderness, as others watch the maturation of a child. I became irritable, prone to excesses of wrath. I wrote a novel in the dead hours of my devastation. And then the sky split in two. I got divorced. I lost all faith in what I was doing. I had to stay silent for a time, listening to the passing airplanes.

It’s very easy to idealize Mexico City. To paint it as a tourist destination for fans of Roberto Bolaño. To present its hippest neighborhoods as epitomes of a cosmopolitanism that hasn’t turned its back on tradition. All that is complete bullshit. Aside from the three or four neighborhoods where the emerging middle class lives, Mexico City is essentially ugly. You have to embrace that ugliness, to find its charm without betraying it. You have to listen to Witold Gombrowicz, who praised the grimy immaturity of Buenos Aires — the vileness of the slums — over the brightly lit, pseudo-European boulevards.

Typical Mexico City is not the combination of blue and sienna of the Frida Kahlo house in Coyoacán but the unpainted gray and exposed rebar of the ocean of houses that spreads around Calzada Ignacio Zaragoza as you leave town headed for Puebla. It’s a city where there are hair salons and pet stores that make payoffs to the drug cartels in order to dye gray hairs and sell hamsters. Women can’t dress the way they like or take public transportation without having their asses grabbed. There are zones of extreme poverty next to office buildings where the CEOs arrive in helicopters. There are daily protests because the government can’t fathom why people are so intent on having decent jobs. There are whole neighborhoods that go without water for days. There are windy afternoons when a pungent stench of garbage blows in from the east. Every time it rains, the whole city floods and the storm drains spew shit. Every now and then a dismembered corpse appears in some sector of the city, or a body dangling from a bridge. There are human trafficking rings that hold captive dozens of teenagers and prostitute them with the connivance of the police. There are hundreds of SUVs filled with armed bodyguards who control the population by violence and with total impunity. There are millionaires, in some neighborhoods, who pay considerable bribes to the right public official in order to have the air traffic over the city rerouted so that the noise won’t disturb them when they’re watching American TV series in their home theaters.

I’m madly in love with Mexico City, crisscrossed as it is by low-flying planes, which I sometimes imagine dropping bombs.

Calzada Ignacio Zaragoza, Yenuan Iesus, 2006.

In August 2015 I emigrated to Montreal because I could no longer write in Mexico City. That wasn’t the only reason, of course, but it’s the one I choose to tell about. It’s impossible to find the time to write if you’re working nine or ten hours a day, and given the state of the Mexican economy, it’s impossible to survive if you’re not working nine or ten hours a day. In this context, writers from well-off families have more opportunities. Of course, in comparison to the country as a whole, I wasn’t bad off, even if I did come from a solidly middle-class family of university professors and not one of businessmen. Female writers who come from rural areas and write in indigenous languages are condemned to a marginality infinitely greater than mine. I’m white, male, relatively heterosexual and a capitalino — a capital-dweller — in a country that’s racist, criminally poor and covered with unmarked mass graves.

In the Monstrous City there always seem to be more important things to do — anything but write a book! There are parties that can’t wait. There are art exhibitions where a section of the museum gets blown up. There are demonstrations which you ought to join in protesting the disappearance of dozens of people. People abducted by a UFO, perhaps, or more likely massacred by the state in collusion with the narcos. And in the dead hours there are friendships and absurd plans that end up winning me over, uprooting the idea of spending the next five hours in front of a computer. (The plan, for example, of watching the sky from a roof terrace in Colonia Narvarte at three or four in the afternoon on a Sunday, three hours after ingesting half a dose of LSD.)

Writing in Mexico City, for me, was hardly ever writing.

Writing in Mexico City, for me, was hardly ever writing. Letting weeks pass without adding a single paragraph to the novel. Typing up commissioned pieces in two and a half hours before heading out to interminable dinners that degenerated into karaoke. Walking at dawn in search of a taxi. Listening to the airplanes overhead and thinking of the novel that I wasn’t writing, that I might never write.

Nowhere have I felt so part of a community as in Mexico City. But every community has its dark underside. Noise, constant and deaf, like an airplane that’s always passing and never passes, hangs over Mexico City and forces me to stay silent. And every so often this dark certainty, like the shadow of an airplane, flies over my spirit: literature is incompatible with literary people.

The effect of the LSD is fading. The afternoon too. There’s a rose color at the edge of the sky and an impossible orange in a few of the clouds. “It’s the drug,” I think, but it’s also the chromatic spectrum of the air pollutants, which can convert Mexico City into one of Akira Kurosawa’s Dreams. There are fewer airplanes now, but the three of us have stopped talking anyway. Sundays in Colonia Narvarte have always struck me as cruelly melancholic.

I say goodbye to Benjamín and Jorge and set off on my final walk home. But then I remember that my home is 3,000 miles away, and so I walk aimlessly, through empty streets, until night falls.

About the Author

Daniel Saldaña París is an essayist, poet and novelist whose work has been translated into English, French, and Swedish and anthologized, most recently in Mexico20: New Voices, Old Traditions, published in the UK by Pushkin Press. Among Strange Victims is his first novel to appear in the US. He lives in Montreal.

About the Translator

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

A String Between Two Tin Cans

I sat in my car and waited to talk with the dead. I was early. A storm was coming and I watched the clouds darken in the rearview, the leaves on the trees an electric green against the slate sky. Mourning doves cooed, and as I rolled down the window, closed my eyes and breathed to calm my nerves, I felt like I was in my grandparents’ yard in West Texas — something about the smell and the sounds and the mood — but it was just a moment, nothing more, and I was back in Austin off Slaughter Lane. Back in an ordinary neighborhood with houses built in 1980s-style with tan vinyl siding and limestone, a little rundown. The streets have names like Chisholm Trail and Cattleman Court, Independence Road and Texas Oaks Drive. The medium lives in a small house at the end of the street, and I wonder if her neighbors know that she hosts séances inside.

The medium lives in a small house at the end of the street, and I wonder if her neighbors know that she hosts séances inside.

My family believes in ghosts. My mother goes to readings, would tape the Montel Williams show whenever Sylvia Browne was coming on — her inclinations part of a bigger thread that involves nights in a dead woman’s house, superstitions, unexplained lights on country roads, and the presence of my late uncle, whose calling card is dimes in unexpected places. For me, the paranormal has always been more of a fascination — I can’t say I believe in ghosts. I’m skeptical. But I do believe in haunting, as a state of mind, as pattern making, as meaning making, as an action, as part of living with grief. As an act of faith, even.

Waiting for the medium.

Before I have a chance to knock (or a chance to turn and run), a dark-haired woman opens the door and says, “I thought I heard you coming.” Her name is Thumper. She’s wearing a muumuu and is barefoot, and as I start to introduce myself she hugs me. I follow her inside and she stops to adjust the thermostat. “The temperature fluctuates like crazy in this house — go figure!”

Every family has a mythology. Questioning mine feels like a threshold: after this I’m in or I’m out. If I go to the medium and nothing happens, I worry I’ll feel disconnected. But what if I go and I’m moved, am a believer? Wondering if I will have the courage to let go of my skepticism scares me even more, I think.

My cousin is who referred me to Thumper. She consults with Thumper on past selves — once my cousin settles relationship issues from another life she can overcome present day bladder infections, or something like that. Thumper’s business is called The Angelic Way and her website lists house cleansings, naming rituals, shadow healings, and licensed marriage officiant under “services.” Her Yelp page is a mixed bag: one woman claims Thumper saved her life, another woman wrote Thumper told her she had a poltergeist, turns out she was actually having epileptic seizures.

Her Yelp page is a mixed bag: one woman claims Thumper saved her life, another woman wrote Thumper told her she had a poltergeist, turns out she was actually having epileptic seizures.

I’m unsure what to expect during my session. Beforehand I wrote a note to my late uncle and grandfather asking them to show up. It’s them I miss and want to hear from. And because I write about them often, memories of them haunting me in more ways than one, I feel like I need a kind of reassurance. To verify their identity, I’ll need specific clues that no one else would know but them. My mom went to see a medium several years ago and said my grandfather told her to make sure Kay can get in. Kay is the nickname of my grandparents’ neighbor, and at the time, my Nana was falling a lot, and Kay, who had been given a house key, was able to pick Nana up off the floor. A stranger couldn’t have known that, my mom always says. When I told her I was going to the séance with Thumper, she warned me that my uncle is not as vocal as my grandfather. “Mark doesn’t like to talk,” she sighed. “But maybe he will for you.”

In the moments after Mark died my mom found a single shiny dime on his bedside table. She swears the dime wasn’t there before, that it simply appeared. Since then she’s found dimes in random places like windowsills or in my dad’s pants pockets — my dad, who never carries change because he hates the jingle, the weight. Once, I found a single dime in each of my shoes. The day I moved into my first apartment I found one by itself on the empty closet shelf. The first time I went over to my fiancé’s house I counted four dimes, no other coins, on his coffee table. I realize that, subconsciously anyway, I was looking for dimes in those moments. I was looking for a sign. But their discovery didn’t, still doesn’t, feel unsatisfying. Like my mother, I obsessively draw lines between the dots in the constellation of dimes.

I was looking for a sign. But their discovery didn’t, still doesn’t, feel unsatisfying.

Dimes seem apt because Mark was one for trinkets. His bachelor pad in Houston was full of knickknacks, haphazardly arranged amidst the chaos of dog bowls, broken furniture and beer cans. At Christmas we were always waiting for Mark to arrive — always late, our patience thin from delaying the festivities. He’d then stay up through the night drinking, start a bonfire, and then leave first thing in the morning. I remember how he’d open just one or two of his gifts and leave the others wrapped, taking them back to Houston to open, a treat for later. But what I remember most about him at Christmases were his gifts to me: a wooden cowboy statuette, a chipped but pretty vase, a real alligator head from the bayou that both fascinated and frightened me, a four foot tall plastic giraffe, toenail clippers, a box of raisins. Now, the dimes don’t scare me — I think of them as another one of his odd gifts.

Thumper’s house smells like incense. Less predictably, the hallway she leads me down seems like that of any family home, a high school senior portrait of her son hanging alongside landscape paintings. The session room is small and dark. She closes the door behind us and I get the sense that this is a little girl’s old bedroom — the door and the moldings are stenciled with pink and purple stars and moons. There is a golden Brahma statue that has been bedazzled with rainbow glitter. I sit on a black futon matted with dog hair while Thumper sets her phone timer for one hour, tapping loudly with her claw-like acrylics. Something about Thumper — her tiny frame, or her overbite making her look like she is perpetually holding back a smile — puts me at ease. She explains how she’ll write notes as we go and speak whatever comes through from the other side.

There is a golden Brahma statue that has been bedazzled with rainbow glitter.

Thumper sits, hand over her heart. “Spirit is telling me to look into your eyes, your big brown eyes.”

I try to keep eye contact without giggling. I feel like I’m in one of those mockumentary movies and this is a skit. She nods as if in conversation, gesturing, pausing for a response I can’t hear.

“I know her eyes are lovely. But, what are you wanting me to see?” she says. I blush — it’s too warm and Thumper’s still staring at me.

“This is a soft, feminine presence. She’s shy, so I’m going to have one of my people help,” she says, breaks eye contact and dramatically waves one of her arms in the air, like she’s motioning someone over. She believes the presence in the room is my great aunt, my paternal grandmother’s sister.

“Did she have eyes like yours? That seems to be her signal of recognition.”

I shake my head. I never met my great aunt and can’t verify. Can’t ask about it, either. My paternal grandmother is named Mary Magdalene and sent all eleven of her kids to parochial school — me telling her about the séance would upset her almost as much as when she learned my mom is a Democrat. My grandmother believes in archangels and that if babies die before they’re baptized they’ll go to limbo — so, why not ghosts? Is it that big of a stretch from believing her sister went to heaven? It all seems kind of arbitrary. But also kind of connected.

When my mom went to her séance several years ago, the medium gave her a message from a late friend, her hairdresser when she lived in West Texas. The message was “tell Helen I’m alright.” And so next time my mom was visiting her parents she dutifully stopped in to see her friend’s mother, Helen. When my mom relayed the message, Helen’s face shriveled. “No thank you. I’m a Christian,” Helen said, closing the door. But for me, going to church and believing in past lives had always seemed related. In fact, my mom would go to her séances with friends from our church. She didn’t have a Catholic or religious upbringing like my dad did — maybe that’s why I got a mix of both worlds growing up — but I’d like to think it’s because the two camps are not so exclusive. Believing in heaven and believing in ghosts are both exercises in faith. A faith in the unknown.

“I’m sensing your great aunt is not who you really want to talk to,” Thumper says after a lull.

“I was hoping to communicate with my mom’s side,” I say and tell her about my grandfather and Mark. She writes their names down, concentrating on my grandfather first. Almost immediately she starts nodding and chuckling to herself, scribbling notes.

“Your grandfather says, You say jump, I say how high?

Hard to explain, but totally something he would say.

“Was he in the military?”

I nod.

“He says, You want my permission, well you got it.

Thumper continues talking or interpreting but I can’t hear my heart is drumming so loud. There is no way she could have read the letter I wrote in my notebook on my desk. No way she could have known that this was the signal I’d been waiting for. Tears sting my eyes. Thumper hands me a tissue.

There is no way she could have read the letter I wrote in my notebook on my desk. No way she could have known that this was the signal I’d been waiting for.

“Sorry. I just wanted to hear that,” I say, pressing the tissue to my face, embarrassed I’ve let my guard down.

“My darling, it’s ok. May I ask what you wanted his permission for?”

“I want to write about his life, but I feel like a voyeur.”

“You got your answer,” Thumper says, and looks off. “He’s a funny man. He thinks you should write with a picture of him on your desk. For inspiration.”

I laugh.

“What you’re writing…it’s a tribute of sorts. He says he’s humbled.” I’m sure my tears egg her on, but still. I feel a lock opening in my chest.

Flannery O’Connor wrote in her essay, “The Nature and Aim of Fiction,” “The type of mind that can understand good fiction is not necessarily the educated mind, but it is at all times the kind of mind that is willing to have its sense of mystery deepened by contact with reality, and its sense of reality deepened by contact with mystery.”

The “mystery” in her fiction is probably referring to grace in the Catholic sense, but I see mystery applying to fiction broadly — not just in the enjoyment of fiction, but in the process of writing it. I feel like the more true to life I write, the more mystery there is. At the heart of every character, at the seat of their greatest fears and desires, are the eternal, universal questions about life and death: the questions no one has the answers to. Being open to surprises and ambiguity makes fiction interesting, like life.

The act of writing requires faith in the unknown.

Maybe my writing about my grandfather is a sappy tribute. It’s cathartic, for sure, also frustrating. But that’s the reason I write: to bear witness to the events, places, and people of the past that haunt me. The questions I’m asking have answers I might never arrive at. But maybe I’ll get close. The act of writing requires faith in the unknown.

Thumper circles Mark’s name with her purple pen. A horsefly is in the room with us, dumbly knocking against the windowpanes and buzzing around Thumper’s head. She doesn’t flinch. It circles but neither of us acknowledges it. Finally, Thumper speaks.

“I called on your grandfather to pull him through. I’m getting the word surprise. Was Mark an unplanned pregnancy? Or did he die young? Before your grandfather?”

“The latter,” I say.

She hovers one hand over Mark’s name and the other gestures in a come hither fashion. “There were things he didn’t get to do. Not dark regrets, but a kind of feeling when he died, like, oh crap I could have done more things. Was he planning on taking a trip?”

I shrugged. Didn’t think of it during the session, but it’s true Mark didn’t change. He taught at the same middle school that he and my mother attended in Houston, and lived a couple streets down from their childhood home. He never married. I remember what my mom and aunt discovered when they cleaned out Mark’s house, like that he’d wanted to go on a cruise to Mexico that summer, a colorful travel brochure under a refrigerator magnet. In the closet my mom found hoards of still-wrapped Christmas presents.

Thumper lowers her voice. “Mark’s hesitant. He says I don’t want to talk about it.”

If there is an afterlife, people probably don’t act much differently there than they did on earth, I reason.

When I was ten or eleven, Mark came to visit us out in California for a few weeks during the summer. In the years we lived out West, that trip was the only time we could get him to come stay. He was sober then, his face thinned out, his speech clear and his hands steady. My little sister and I convinced him to get a “summer cut” like our dog and shave his head. One weekend we took a trip to June Lake. I remember us standing on the beach, shivering in our swimsuits as the wind came off the glacial water. The lake was sapphire. So pretty I had to splash in it. I dipped my toes and screamed with pain and delight. Mark dared my sister and I to dive. I told him if we did, he would also have to go under. Thinking we would chicken out, he agreed.

For a moment my heart stopped and when I surfaced and sucked air it was like being born again.

The cold took my breath, a hard thwack in the chest. For a moment my heart stopped and when I surfaced and sucked air it was like being born again. Mark dove in and yelled, shocked as my sister and I. He was happy then, surely. We were. As everyone was drying off and getting back in the car our teeth chattered and our bodies shook with life.

The summer I was seventeen we watched Mark die. His skin was swollen and jaundiced and there were bags of fluids hanging from poles around his ICU bed at St. Luke’s. Tubes up his nose, tubes snaking into his arms. The last time I touched him he was cold and unresponsive. He stunk. And to this day the smell of unwashed skin and disinfectants — the smell of hospitals — makes me gag. After that summer, I couldn’t stand the sight of blood or broken skin. The sight of wounded bodies, physical reminders that we’re flesh, made me dizzy. Death is ugly, if the physical fact is all there is.

Some of us seek answers. For me, yearning is the powerful part of grief, more painful than sadness. My parents think that Mark relapsed that summer, and realizing he wasn’t capable of certain things anymore — like that trip to Mexico — he decided to take the drinking to its peak, to push himself over the cliff, and by the time he realized people would be hurt by his fall, it was too late. My Nana thinks something must have happened to Mark at the school where he taught. It was a neighborhood with a gang problem so bad that there had been a murder on campus. He saw a kid stab another in the temple with a screwdriver, held the wounded boy as he died. A drive-by had happened outside his house, his wall dotted with three neat bullet holes. A few weeks ago, Nana and I were talking on the phone, and she mentioned Mark’s best friend, Steve, who’d sent her flowers for Mother’s Day.

“I want to ask Steve about what was going on with Mark. I think, something must have happened at school again, to make him so sad. But I can’t ask him. Just can’t.”

“I’m not sure knowing what happened changes anything,” I said. Maybe Nana was afraid to know the truth. But nearly ten years after his death, she still yearns for answers.

“I talk to him and your Pawpaw everyday. Everyday. My dogs must think I’m crazy,” she said.

Before I went to see Thumper I did some reading on the paranormal. One of the more interesting articles I found, in The Atlantic, was about ghosts, schizophrenia and consciousness. The article described how Swiss researchers found that when sensorimotor signals get confused in areas of the brain that deal with self-awareness, movement and spatial orientation, we experience a “feeling of presence.” The researchers were able to simulate this sensation in a lab with robots. It basically revealed that our brain doesn’t always understand what our bodies are doing, or even that they are actually our bodies. In other words, the ghost is you.

Our brain doesn’t always understand what our bodies are doing, or even that they are actually our bodies. In other words, the ghost is you.

I told my mom about the article and she replied that it was interesting, but doesn’t explain all of the things she’s seen and felt. She told me that to think haunting is solely a brain malfunction rings false. “What causes the signals to cross in a non-schizophrenic brain, anyway? Maybe a ghost,” she laughed.

My session with Thumper is winding down. Nothing comes through from Mark, so she reads my energy. She hovers her hand over the sheet of paper and says, “Your people want you to know you’re never alone.”

And when she says this I feel warm, also sad — I don’t want her to snip what feels like the string between two tin cans.

“If you are worried and in need of guidance, call on your grandfather. Just talk to him,” she says and reaches to rub my shoulder. But isn’t that what everyone wants to hear? That they’re not alone? I can’t ignore the obvious. What Thumper says is generic, accurate for any person who self-soothes by seeking out her services.

But isn’t that what everyone wants to hear? That they’re not alone?

The skeptical me can discredit Thumper. But I can’t fault her for embracing the mystery in the reality and the reality in the mystery, to paraphrase O’Connor. As a writer and reader of fiction, I can’t. I can’t fault her for trying to make others believe in something bigger, to manipulate them into feeling connected. But fiction is a lie by definition. Thumper claims to be telling the truth. The distinction between fiction and faith is huge. Yet, in their telling of truths and lies, both writers and mediums, at their core, are trying to make meaning. Writers and mediums take raw details — our trinkets and our tics — link them and imbue them with purpose. For me, such storytelling is as essential as breathing.

I heard my Nana talk to ghosts over Thanksgiving five or six years ago. I was on break for the holiday, staying with the rest of my family at my aunt’s house. Even though it is crowded, all of us want to stay under the same roof. I share a pull out couch with my sister and my Nana. We act like it’s a nuisance to sleep three people to a bed, but I secretly enjoy being cocooned in blankets and wedged tight between them — it’s safer there.

In the middle of the night I’m woken up thinking Nana is asking me a question, but she’s sleep talking. Her eyes are closed and she lies flat on her back. In the dim bluish light I can see the lines and veins on her delicate skin. I’m often afraid if I squeeze her too hard I’ll bruise her. A tuft of downy hair blows across her forehead as the ceiling fan clicks. She’s mumbling low and I can’t quite make out what she says. She kind of sighs, like she’s shared an inside joke. In her sleep she speaks to him and I wonder if in her dreams he replies.

I wanted to open my mouth and say I love you. I’ll see you on the other side.

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Free Reads on the NYC Subway

Subway Reads offers up free literature timed to your commute.

NYC subway, 1973. By Erik Calonius

The underground literary scene in New York City will now be a little easier to find. This weekend, the New York Transit Authority, in partnership with Penguin Random House, launched Subway Reads, a new program designed to promote Wi-Fi accessible MTA stations (175 and counting) and to liven up commuters’ rides with some good reading. Anyone with a phone or a tablet and a subway ride ahead of them can now download a short story or book excerpt timed to last the length of their commute (10-, 20-, or 30- minute reads). The (free) service is available for the next eight weeks via the Subway Reads site. And in case you were wondering, yes, as a matter of fact, we looked through the selections, and we have a few recommendations…

From the 10-minute reads

An journey of the mind: On the Move, Oliver Sacks

A raucous commute: Super Sad Love Story, Gary Shteyngart

Dystopian theatrics: Station Eleven, Emily St. John Mandel

From the 20-minute reads

The one everyone’s talking about: Underground Railroad, Colson Whitehead

An NYC flâneur: Open City, Teju Cole

Tales of the Bowery: Up in the Old Hotel, Joseph Mitchell

From the 30-minute reads

A wizardly bildungsroman: The Magicians, Lev Grossman

The best of Brooklyn: Bright Lines, Tanwi Nandini Islam

Office revolt: The Assistants, Camille Perri

Don’t worry, if you can’t finish in the allotted time, you’ll keep the download to finish later. Sadly, we can’t do anything about the looming L train disaster.

Like a Buster Keaton Movie or a Time Bomb

About six months ago, writing in the New York Review of Books, Norman Rush wrapped up his appraisal of The Dream of My Return by Horacio Castellanos Moya with a quiet imperative: “Five novels as well as five collections of short stories by Horacio Castellanos Moya have not yet been translated into English. They should be.”

Mr. Rush’s figures are already out of date — slightly, and happily. Available for the first time in English (translated by Lee Klein) but originally published in 1997, Revulsion: Thomas Bernhard in San Salvador was Castellanos Moya’s breakthrough in the Spanish-speaking world.

Revulsion is a pastiche, written in the style of the Austrian author Thomas Bernhard, one of the most important German-language writers of the postwar era. Bernhard’s books include Correction and Extinction, novels that seem to have been written by someone whose mind is as agile as his mouth is foaming. His work is largely a response to Austria’s complicity with the atrocities of Nazism, just as Castellanos Moya’s work is largely a response to the atrocities of the Salvadoran Civil War.

Revulsion, which channels the ranting Austrian author’s famous hatred of his homeland, earned Castellanos Moya accolades as well as death threats. And in El Salvador, saying you’ll kill a writer is a serious matter; the specter of Roque Dalton, a highly regarded Salvadoran poet as well as a leftist revolutionary who was assassinated by his (probably paranoid) allies, haunts Revulsion. Edgardo Vega, the narrator, describes the murder as “proof that the disgrace in which these people live contaminates even their best minds with ideological fanaticism.” This serves as a fair summation of Vega’s indictment of El Salvador as a whole.

Vega, at the novel’s beginning, tells “Moya” that he has returned to San Salvador for his mother’s funeral. Vega’s prized possession is his Canadian passport, and he has spent nearly two decades abroad. He hates El Salvador; his body rejects it like a failed organ transplant (Vega’s gastrointestinal maladies are a reliable source of humor throughout the book). One of the only places he can tolerate is his favorite bar, “the only place in San Salvador,” he says,

where I can drink and do nothing else for a couple of hours, between five and seven in the evening, for only a couple of hours, after seven this place becomes unbearable, it’s the most unbearable place in existence thanks to rock groups…

Vega meets “Moya” here and rants at him for the full two hours, denouncing El Salvador and railing against the Salvadorans, who he sees as ignoramuses (“human stupidity has no limits, particularly in this country”) with a predisposition toward violence (“they were the most sinister people I’ve ever seen in my life, Moya, four psychopaths with crime and torture stamped on their faces…”). Though Vega reserves special scorn for his family, especially his brother, everything about El Salvador disgusts him, even pupusas, the beloved national dish:

[T]hese people have dull palates, Moya, only someone with a totally dull palate would consider those repugnant fatty tortillas stuffed with chicharrón somehow edible, said Vega, someone like me with a healthy palate must endlessly refuse to eat such greasy nastiness, I once refused in such a way that my brother suddenly understood I wasn’t joking, I wasn’t going to eat those repugnant pupusas and perhaps this was the first altercation we had, in Balboa Park he began to reproach my ingratitude and what he called my lack of patriotism. You can imagine, Moya, as if I considered patriotism a virtue, as I I weren’t completely sure that patriotism is one of many stupidities invented by politicians, as if patriotism had anything to do with these fatty tortillas stuffed with chicharrón that always destroy my intestines, that exacerbate my nervous colitis, said Vega.

In the manner of Bernhard, Revulsion consists of one unbroken paragraph, sentences that all run together; it’s a madman’s soliloquy, interrupted only by the occasional “said Vega,” a daub of authorial distance.

You’ve got to get yourself out of here Moya, set sail, relocate to a country that exists, it’s the only way you’ll write something worthwhile, instead of your famished little stories they publish and applaud you for, that’s good for nothing, Moya, pure provincial groveling, you need to write something worth it, and here you won’t do it, I’m sure. I’ve already told you: this place is at odds with art and any manifestation of the spirit; its only vocation is commerce and business, which is why everyone wants to be a business administrator, to better manage their commercial and business dealings, this is why everyone bows at the feet of the military, because they learned to be effective businessmen and establish business connections with them from the beginning thanks to the war, said Vega.

Vega talks in loops, repeating variations of the same phrase. (He must be quoted at length to give any sense of the style.) One of the consequences of a rant is that it often makes the ranter look as bad as what he’s ranting against. Vega spends as much time bemoaning El Salvador’s lack of refinement and good taste as he does their death squads. His indictment of his country becomes, in part, an indictment of himself.

The brutality of the Salvadoran civil war (Castellanos Moya’s first memory is of a bomb exploding on his grandfather’s porch) fuels Revulsion’s outflowing of paranoia and disgust. But literature should not be so simple; Castellanos Moya has called Revulsion a “shock, a discharge of frustration,” but also “an exercise in style.” Revulsion is quite funny, actually, in a dark, droll way. In confronting tragedy, Castellanos Moya wrote toward comedy. Towing the line between horror and laughter is where he most like Thomas Bernhard. The final twenty pages or so, where Vega describes a night where he goes to “get fucked up” with his brother and his brother’s friend and subsequently loses his passport, is a slapstick pièce de résistance.

Where Revulsion is least like a Bernhard novel is its lyrical energy, but you can’t fault an imitator for failing to live up to the imitated; a copy of something is always diminished, a little. The novel is perhaps not a perfect pastiche, then, at least in translation (as I know barely enough Spanish to order in restaurants, and zero German, I can only compare translations). Revulsion is is an early exercise of an interesting writer. Castellanos Moya completists won’t want to miss it, and neither will Bernhard-heads, but those unfamiliar with either writer might be better served by one of their great novels, such as The Dream of My Return or Extinction.

Having said that, weighing in under 90 pages, Revulsion: Thomas Bernhard in San Salvador is too short — and too funny, and too weird, and too angry — to be a waste of time.

Because We Were Starving

The Game

But say the two of us in a domino game a hold hard-end,
I working with you, my Pardy-P, but you, you playing cut throat.
I turn over the second-to-last bone and expose
the hard key, rising, I slap the bone on the table. Call double blank.
The dart of your tongue to tap, your top lip is a sharp tell.
The serpent, pleased with this sacrifice.

The man you have passed, leg jumps and threatens the board that
we all here balancing. My hand resting against ply has rattled more than
the ‘L’ of bones. Dotless, the sky shifts above us. The goat-eye moon
shifts from player to player. You rock back. The stars have not been shuffled
in their orbit. The Milky Way is still here, beautiful gash —

We could have given them 6 love. Make them get up and go home.
Winning; this taste sprung in my mouth, cheek grazing the udder.
They could have scattered, left us with our knees pressed together,
keeping the plate of bones from falling, our necks strained in the
observation of stars.

But say the one who was after me swallowed the pass,
turned over hand, let go of her single play, shuffled
the constellation. Knew — 
To win, I should have blocked the game.

The Bet

Because we were starving, we hunted through the cupboards,
fetched a pot, filled the pot with water and bet marbles to see
who could drink the most. On a count of three, we filled our
beakers, filled our mouths, gulped faster, faster than we could
pour. Our chins dripped. Drenched, the water ran down our necks,
soaked our t-shirts, ran down our knuckles to our elbows. I looked
at Howie; face fat as a fish, his pouty lips taking in more and more.
We could have drowned, the two of us soaked down to our navy
blue socks, as we bailed the water ’til the pot ran dry.

In a yard, two staggered like sailors, and meowed as their bellies
slopped around in floppy clothes, and felt so sickly-round, they
could have been mistaken for being with young. They hugged each other
and zig-zagged to the back porch where they capsized and sunned and slept
and slept on the terrazzo tile, marble and pacific. I wish they could have
saved one another at some point, or other.

Ted Wilson Reviews the World: A Fingerprint

★☆☆☆☆ (1 out of 5)

Hello, and welcome to my week-by-week review of the world. Today I am reviewing a fingerprint.

Everybody has them. Well almost everybody. They’re called fingerprints and they’re nature’s way of ensuring that only guilty people are sentenced for crimes they’ve committed. Other than that, I’m not sure what the point of a fingerprint is.

While looking out my living room window to see if the mail was coming (it wasn’t), I noticed a fingerprint on the glass. To most people this would not be an unusual sight — glass is known for collecting fingerprints. However, I knew for a fact that I hadn’t touched this window in years. Not since I’d gotten a newer window that’s much more fun to touch. You’re welcome to come over and touch each of them for comparison. You’ll see exactly what I’m talking about.

After painstakingly comparing this fingerprint to all of my own, I determined there was no match. So I contacted everyone who had ever been in my house, or who I suspected wanted to come into my house, like the paperboy who once longingly looked at my couch from the doorway and said, “I like your couch.”

Out of 126 people, only seven obliged and sent their fingerprints. None of those proved to be a match either.

I hated myself for ever noticing the fingerprint in the first place. So much so that I tried to just stop looking at things altogether. Most of the time I would just keep my eyes closed. I still had to look at some things, like stairs and money, but I would try and look as quickly as possible.

I considered the possibility that like many other parts of my body, my fingerprints are changing with age. No one ever checks for that. My ears have gotten bigger and I have more wrinkles, but can my fingerprints sag? A dentist I know said that’s not how fingerprints work, but she’s a dentist. It wasn’t a question about teeth.

I made a copy of the suspicious fingerprint and mailed it to the police and asked them to look into it for me when they had the time. I guess they haven’t had the time yet.

That’s when I decide to take matters into my own hands and just wipe the fingerprint away. I knew that I might be destroying evidence, but I just couldn’t take it anymore. If you’re the one who left the fingerprint on my window, please don’t ever contact me. I don’t want to hear about it, I just want this left in the past.

BEST FEATURE: I’ll have to get back to you on this one.
WORST FEATURE: It ruined my life for a few weeks.

Please join me next week when I’ll be reviewing Shelley Duvall’s duvet.

Santiago Gamboa’s Consular Affairs

Every now and again a literary novel brings you such pleasure, you can’t help but look at the others that have come across your desk or nightstand or e-reader recently — perfectly serviceable, well-intentioned books — and feel a little resentful. Why couldn’t they have been more fun? Would it have been so terrible to bring in a gin-swilling detective? How about a murder, or at the very least some intrigue in a foreign capital? As it turns out, there’s no reason at all why a novel of the highest quality, packed with insight and subtlety and crafted in an ambitious style, shouldn’t also be thrilling, and even a little bawdy. Or anyway that was the feeling I had after finishing Night Prayers, the latest book from the Colombian writer, Santiago Gamboa.

Gamboa is the author of eight novels, two of which have now been translated into English and released in the US by Europa (Night Prayers, along with Necropolis). Gamboa’s work is a part of the novela negra tradition — noir, as it’s practiced in Spain and Latin America — but not the hard-boiled variety. His ‘detectives’ tend to be literary figures or diplomats or both. (Gamboa served for a time as Colombia’s cultural attaché in New Delhi.) They travel to conferences or consular missions and find themselves ensnared in a web of organized crime, sex, drugs, political corruption, guerrillas, paramilitaries and a few more-or-less innocent romantics.

In Night Prayers, Gamboa tells the story of Manuel and Juana, siblings from a modest family in Bogotá who get involved with an international drugs-and-prostitution ring. One ends up in a Bangkok prison, the other in a yakuza brothel, and so the Colombian consul — Gamboa’s avatar — is summoned to stave off the scheduled execution. The story is as dark as it sounds and much stranger, with demons taking over the narration from time to time and a niggling sense of corruption that infects even the most innocent scenes. This is international noir of the most ambitious kind. Add Gamboa to the ranks of Javier Marías, Patrick Modiano, and Juan Gabriel Vásquez.

I met Gamboa briefly when he was in downtown New York for the release of Night Prayers. It was a hurried introduction, and we agreed to chat further by email, once he had returned home to Colombia. With the help of a translator (Philip K. Zimmerman) and a few drinks (bourbon on my end; actually I have no idea whether Gamboa enjoyed a drink as he responded, or whether he drinks at all, or perhaps that’s only his narrator’s indulgence), we discussed lonely cities, la novela negra, and diplomats as detectives.

Dwyer Murphy: I thought we could start by talking about cities. In particular Bangkok and Bogotá, which are at the heart of your new novel, Night Prayers. Did you find some affinity between those two places? In the story, they’re linked in a few pretty chilling ways: the drug trade, organized crime, sex trafficking. But was there something about the character of those two cities that bonded them in your mind?

Santiago Gamboa: Cities are the classic setting for novels because cities are where strangers live and meet. There’s an air of anonymity and solitude that upsets some people, and things happen that may be memorable. Sometimes strange encounters, but also crimes and injustices. Literature almost always deals with anomalous situations. For me, Bogotá and Bangkok are opposite cities. I was born in Bogotá, I grew up there and spent my adolescence there; Bangkok I’ve only been to three times, and I have no ties with it. But when I evoke them, both cities give me an unsettling feeling of solitude. Bogotá with its familiar, gesticulating people, Bangkok with its curious urban rituals. Also, when I think of them, I always picture them raining.

Murphy: Are you comfortable with your novels being read as crime fiction? Many of the elements are there — a transgression, an investigation, copious drinking, a journey across the underbelly. But then again there are also concerns one wouldn’t normally find in crime fiction, at least not in the U.S. — matters of diplomacy and political ideology, for example. In Night Prayers, Manuel, from his prison cell in Bangkok, is adamant about this being a love story, not a crime story.

Gamboa: I suppose in our times the novel has gained sufficient freedom to cross genre borders and break with all models, which is also the way the contemporary novel is adapting to a fragmentary and chaotic reality. That’s the kind of book I like to read: a book that can contain, for example, essay, biographical chronicle, mystery novel and romance novel in the same pages.

Most novels that are simply noir seem predictable to me because the protagonists generally make mistakes that the reader wouldn’t make. That’s why I prefer to write novels that contain more, and that above all have memorable characters. But it doesn’t bother me that my books are seen as noir novels, on the contrary. The novela negra factor ensures that the reader keeps reading and becomes more and more immersed. As long as he doesn’t wake up, you can tell him whatever you want to.

Murphy: Can you tell me a little about your professional life outside writing? I understand you served as cultural attaché. I won’t ask you to clarify all the distinctions between you and your narrator, who is a diplomat working in consular affairs and is also a well-known Colombian novelist, a friend of several other authors readers may recognize. Horacio Castellanos Moya, for example, shows up in Tokyo for a few pages, tags along to a bar, then disappears into the night. It’s all quite dizzying for the reader. Anyway, you were a diplomat? You write journalism?

Gamboa: Yes, I was a diplomat, and I write a little journalism. My narrator does resemble me quite a bit, and I ought to confess that he’s something of an alter ego. But he’s more of a loner than I am, and a lot more daring; his personality is introverted, intense. Sometimes I’ll sit alone in a café or bar and try to pretend I am that character. At times I can pull it off quite well. I like to interrogate my own life through him, although that’s something most readers don’t see and don’t have any reason to. It’s above all a creative limitation: I wouldn’t be capable of writing a novel with a principal narrator who does something completely unfamiliar to me, because I don’t think I’d be able to find his voice. And that’s what I care about most: the characters and their voices.

Murphy: How did it first come to you that a consul would make for a good noir hero?

Gamboa: Years ago, when I read Lowry’s Under the Volcano, I understood that the consul is a romantic figure. I felt it again in the novels of Graham Greene and Marguerite Duras, especially the stories that take place in Southeast Asia or Africa. The image of the consul as someone transplanted into a strange world, a world he never fully understands but where he’s called upon to be strong and provide relief to others. The consul is there to listen to the people who are searching for that relief; he represents a certain order that the characters have lost. And so despite being nothing more than a man, the consul represents a hope, and even if he doesn’t share in it himself, he can engender that hope in others, much in the way one can transmit certain diseases without showing symptoms.

The consul is there to listen to the people who are searching for that relief; he represents a certain order that the characters have lost.

Murphy: You — and many of your characters — grew up during a period of armed conflict in Colombia. The tangle of political sympathies and corruption and infighting are an important backdrop for your work. Is the cease-fire between the government and FARC a watershed moment? Do you foresee it affecting the kinds of stories you may tell in the future? Forgive me if those questions betray a lack of understanding of the situation.

Gamboa: I think that a writer is always writing, in a lateral way, about his own country and about himself, even if his fictions are set in the Roman Empire. Colombia was and continues to be my first universe, and as a result, all the other ones I know have been in some way interpreted and assimilated through it. It’s normal for me, as a writer who grew up in that reality, to be more sensitive to the type of story that involves the problems of my country.

In one of the narrations in my next novel, I look at Colombia under the effects of the peace process, and the truth is it looks like a patient who’s been suffering from schizophrenia and has finally been given psychiatric drugs: it smiles and appears calm, but it has a faraway look in its eye and its smile is disturbing. It will take some time for normalcy to reestablish itself.

Bogotá and Bangkok

Murphy: As a Colombian writer publishing internationally, do you find yourself struggling against the ghost of García Márquez? Or is there some other Latin American writer whose oversized reputation intrudes on you and your contemporaries?

Gamboa: Well, that’s inevitable. García Márquez was the most universal author of the twentieth century, and he was Colombian. So it’s normal that in many parts of the world, when they find out I’m Colombian, they search for some affinity in our books, but the truth is they don’t find it. Sometimes they feel frustrated, but my world is very remote from his. I was born in Bogotá, a city 8,600 feet above sea level, a city where it rained every day and everyone appeared to be offended. When I got to know the Caribbean I was seventeen years old, and it scared me: the people embraced in the streets, shouted when they talked and laughed incessantly; they wore bright colors and shoes without socks. It looked like a Cuban movie. That was the world of García Márquez, so radically distinct from my own.

Murphy: In Night Prayers, you use several different perspectives to tell the story. We have the consul investigating the mystery. Manuel telling his life story. Juana telling hers. A demonic voice that interrupts from time to time with, for example, a history of gin. How did those voices arrive to you? Did the stories meld together naturally or was that something you had to impose on them later?

Gamboa: Writing novels is one of the great enigmas in my life. It’s difficult to explain a method, but what I do know is that I need characters who will talk to me about their lives as they would to a friend or to their confessor, or as a prisoner sentenced to death might do the night before his execution. Telling a story in order to be saved and as a form of resistance. Every character has a story, but that story may become two stories or three. And so the situations proliferate, because life will always be much more complex than literature. That’s why I don’t like books intended to be merely entertaining. If you don’t attempt to explore the darkest and most profound aspects of the human condition, then you’re at best a “content creator,” not a real writer. And as far as the voices of Intra-Neta are concerned, those came to me in a rather surrealist way: as if it was necessary to disrupt a certain rational order in the book. An Argentine journalist once told me that in her opinion Intra-Neta was Juana’s voice a few years later. I think that’s an interesting hypothesis.

I need characters who will talk to me about their lives as they would to a friend or to their confessor, or as a prisoner sentenced to death might do the night before his execution.

Murphy: You recently came to the U.S. to launch Night Prayers. Have you noticed anything different about the way your work is read and received in the U.S., versus other countries, or versus Colombia?

Gamboa: I was in New York for only a very short time, but I saw that some who read and appreciate my work in the United States are people I’d like quite well if I met them in a private context, people I might invite out for a drink. The same thing happens to me in other countries where they read my books. In fact I’d go so far as to say that two of my readers could become good friends no matter what countries they were from. But I can’t prove that — it’s just a hunch.

— Translated from the Spanish by Philip K. Zimmerman

Too Rich, Too Phony, Too Successful

Literary ambition is so rarely rewarded in any tangible way that another writer’s seemingly meteoric and facile success can be incredibly painful, much as we struggling writers may remind ourselves that others’ achievements have no bearing on our own potential, that life is not a contest, that we should be grateful that anyone’s art is rewarded at all, etc., etc. With seasonal regularity a select few writers emerge in a deluge of barely earned hype that engenders excitement, resentment, and innumerable “writer’s envy” think-pieces. (I’d consider Curtis Sittenfeld’s “Too Young, Too Pretty, Too Successful” the ur-text of this genre — in the internet age, least; Harold Bloom could point probably you to some Shakespearean ephemera in which he slags off Christopher Marlowe.)

Along with the praise, influence, and seven-figure advances these prodigies reap comes intense scrutiny that reveals, more often than not, apparent privilege. These writers — heretofore unknown — arrive not just fully formed brilliant storytellers; they are also young, extraordinarily educated, rich, connected, and photogenic. From our limited vantage point, their success appears to be not at all hard-won. Of course we know nothing of their struggles. Countless network teen dramas have shown us that even the young, rich, and beautiful cry and bleed. Still, it’s not out of line to assume a gilded status would relieve many a struggling writer of their more immediate — read: financial — struggles; for these golden boys and girls, the luxury to try and fail without financial consequences seems to negate failure altogether.

At heart of Dylan Hicks’ novel Amateurs is one such wunderkind: Archer Bondarenko, heir to multiple fortunes, most notably the spoils of his stepfather’s sex toy business, and a burgeoning novelist/essayist of modest success but snowballing renown. He is the center around which the novel’s disparate characters pivot: Sara Crennel, a driftless MFA graduate who finds an uneasy sense of direction and security by ghostwriting nearly all of Archer’s work, including e-mails to his publisher and agent; John Anderson, a self-styled artisanal bike builder and Sara’s onetime boyfriend; Lucas Pope, a fellow student from Sara’s “second-tier” MFA program who carries a torch for Archer’s fiancé Gemma; and Archer’s cousin Karyn Bondarenko, a young mother who has long abandoned her aspirations to act but who has been lately dabbling in playwriting. The novel alternates between two timelines: one that dips into the characters’ lives circa 2004–2009 and the days surrounding their convergence at Archer’s 2011 wedding.

That set-up may be a tough sell to some readers, as it was to me. In synopsis Amateurs resembles a mediocre indie dramedy of the sub-Stillman/Baumbach mold: white, mostly twenty-something, mostly well-educated but underemployed members of the creative class while away their post-collegiate years with urbane chatter and tentative stabs at both artistic fulfillment and adulthood. These are the kinds of characters who describe their mundane day job by referencing “Keats’s negative capability,” who publish essays in “influential journal[s] out of New York,” who write plays inspired by esoteric acid-folk groups. But Hicks is too astute an observer of quarter-life ennui, too precise and empathetic a chronicler of his characters’ very real anxieties to write Amateurs off so easily.

This isn’t just a book featuring pretentious, privileged people; it is a book about privilege, about pretension. By dint of being born in America, each of Hicks’ characters is relatively privileged. But some are more privileged than others. And so they face the frustration, as do we all, that their entitlement doesn’t entitle them to everything they want. Even Archer’s limitless well of money doesn’t avail him of the talent or discipline to be the writer he pretends to be.

The novel shifts point of view frequently, with Hicks’ masterful free indirect narration affording nearly all of the core characters unexpected depth and anguish. For instance, Lucas, whom Karyn — and the reader — initially regards as a freeloading slacker, reveals himself to be thoughtful and charming in a relatable, practiced way; in an introductory chat he strategizes the progress of small talk:

“He had so far asked two questions about her job. His goal in situations like this was five; he sometimes pictured hash marks in his head.”

Depicted with true-to-life awkwardness and under the specter of mutual doubt, the relationship that burgeons between the two wounded but resilient loners is the novel’s emotional cornerstone. Likewise, there’s something quaint and tragic about John’s fastidious mania for dressing well even though, as the live-in caretaker for Sara’s father George, he has no discernible social life. A formerly close friend of Archer who resents Archer’s easy life station, John falls into sartorial refinery perhaps as meek appropriation of his friend’s privilege.

Tellingly, Archer is the rare figure whose point of view Hicks leaves inaccessible. As a result, his motivations for playing at authorship remain mysterious, even to Sara. Is he merely a bored dilettante? A sociopathically ruthless intellectual wannabe? An unremarkable thinker ashamed of his own limitations but who yearns for prestige? Aspiring writers likely may find Sara’s own motivations for going along with Archer’s scheme perplexing to the point of fury. How could she let him take all the credit for her work? However, when the specifics of their arrangement are eventually revealed, it all becomes clear. Early in the novel, Sara refers to her level of financial security as “safety-net money, not write-your-novel money.” Not only does Archer pay her much more than any sane publishing house would, his connections relieve her of the grind and anxiety that comes with aspiration. As Archer’s uncredited ghostwriter, she accesses a privilege that would be unattainable to her even if she had succeeded on her own terms.

Amateurs might sound like a satire of the publishing industry but Hicks usually harnesses his vitriol and insight to comment instead on human foibles and contemporary mores. Hicks has a way with efficient, lacerating description: John’s scumbag brother is “the kind of guy who blows marijuana smoke into the mouths of dogs.” Lucas dresses “like a semifamous cartoonist, or someone who would recognize a semifamous cartoonist.” Archer in casual wear resembles a guy “trying out for Yo La Tengo” and a kid “delivering the Sacramento Bee in 1966.” Hicks can be tender, too, as when he describes through Karyn a facial tic that is “as endearing as missed belt loop,” or when he nails John’s mournfulness over a particular type of relationship that festers in late young adulthood, those that survive largely on convenience and routine:

[I]t seemed to John that Archer was trying to maintain their friendship in the most efficient way possible, often building plans around mundane things he was going to do anyway. But then, maybe that two-birds-with-one-tone approach had always held sway; maybe in the past Archer would have gone from restaurant to gallery to bar to party whether John was with him or not.

Most impressively, Amateurs captures the intricacies of social exchange in a screen-dominated culture. Without being showy about it, the novel explores the way social media and technology interweaves itself through “real” lives and relationships, highlighting the common though unhealthy belief that more knowledge equals less anxiety. On their first meeting, Lucas and Karyn stumblingly reveal that they have thoroughly vetted each other on Facebook; while that seems like it would accelerate their intimacy, it has the opposite effect when Lucas realizes he looked up the wrong Karyn Bondarenko. Elsewhere, Hicks juxtaposes the thought process that goes into composing a text with the text itself:

“His text had come through on her lunch break. Could they, he had wondered, get together, maybe tonight, to talk about her play? She considered responding with caveats: she wasn’t interested in lengthy, if any discussion of her private play, nor was she up for cooking dinner. In the end that seemed overwrought. She wrote, “Sure, drop by at 8.”

As Amateurs nears its end, the generally meandering novel suddenly takes off full-blast, as Hicks throws in a pregnancy, a wedding, a scandal, and a sudden declaration of love. But it reads as the inevitable boiling over of tensions that have simmered from chapter one rather than a conciliatory swerve into plot. The last act ramp-up is the natural path toward confrontations and resolutions that the novel has earned, the characters deserve, and the reader has yearned for.

Ultimately Hicks cares more about his characters than making a statement about capital-P Publishing, but what Amateurs does have to say about Publishing can be summed up by the back matter page that (I presume) appears in every Coffee House Press title that reads simply, “LITERATURE is not the same thing as PUBLISHING.” Hicks couldn’t ask for a more suitable epigraph.