So Long, Amazon?

A New Service Offers One-Hour Book Delivery or Indie Shop Pick-Up

The Delivery Man, Chris Bird

Forget Amazon drones. A new start-up is promising book delivery within the hour.

The company is called NearSt., and it’s deploying a small army of book-toting scooter and bike messengers around London. Here’s how the service works: choose your book on the company’s site or app, enter your location, then decide whether you want Garth Greenwell’s What Belongs to You, Don Delillo’s Zero K, or Helen Oyeyemi’s What Is Not Yours Is Not Yours delivered to your doorstep quick as a Domino’s pizza, or whether you’d rather pop down to your local independent bookseller to pick up the book yourself. According to The Guardian, NearSt. is already working with 40 London bookshops, each of which is syncing up internal inventory systems to the site so that customers can be sure that the book they want is close by and ready.

There is no official word if or when NearSt. may link up with American booksellers, but CEO Nick Brackenbury has spoken of his desire for the start-up to expand its product category and its reach: “the ultimate goal [is] having every product in every shop in every high street on the platform at a global scale…we’re very excited by what lies ahead for local commerce, and what we can achieve with local businesses everywhere.” Clearly not hiding his ambition for the platform, Brackenbury has also stated his start-up is “absolutely” out to challenge the likes of Amazon.

So far, the testimonials from booksellers sound pretty glowing. Betsy Tobin, of London bookshop Ink@84, told The Guardian it’s “dead easy: an automated phone call asks you to double-check stock is physically there, then press a button to acknowledge. A very streamlined process. My staff person has just drawn an interesting parallel with Pokémon Go, in that people enjoy using tech to track down a product but also like the physical/social process of going out to get it.”

The resurgence of the independent bookstore has been one of the year’s big literary stories. NearSt. looks to be the latest innovation in the direction away from megastores and online behemoths like Amazon.

The big question now: are tech-savvy independent booksellers going to bring us back from the digital abyss? Led by gaslight (iPhone flashlight), leather-bound parchment (any physical book) in tow, we return to the world…

Writing Advice Courtesy of Jonathan Safran Foer & Natalie Portman’s Email Exchange

Natalie Portman is on the cover of the latest New York Times T Style Magazine. Inside the issue you’ll find her email correspondence with none other than Jonathan Safran Foer, who has a new novel coming out this fall but was not asked to pose in his underwear. Say what you want about the pomp, the pretense, and the rumors, one thing is certain about this exchange: it’s a veritable gold mine of writing advice. Of course it is. Safran Foer is a Great American Novelist. Portman is a Great American Director. What else would you expect? This is Strunk & White for the 21st century.

To save you a little time, we culled the best of their literary wisdom.

  1. A writer must face his greatest challenge head on.

Foer: “People often refer to aloneness and writer’s block as the two great challenges of being a novelist. In fact, the hardest part is having to care for guinea pigs.”

2. Write what feels wrong.

Foer: “Freedom might not be a prerequisite for the expression of passion — it helps, sometimes, not to be able to follow your instincts — but they are strongly intertwined.”

3. A novelist must have rituals.

Foer: “…the garbage and parking are among the many rituals around which my daily life is organized.

4. Keep track of those rituals. DO NOT lose them.

Portman: “You learn how deeply grounding ritual is when you lose it.”

5. Treat. Yo. Self.

Portman: “Before the concert we ate a meal at a restaurant that was pretty insane. It’s called the Clove Club; next time you come to London, eat there.”

6. Be homeless.

Portman: I realized how much Judaism for me was connected to yearning — to wanting what you don’t have — which is maybe why Israel is so complicated emotionally for Jews: It’s built into the emotional structure of our religion to yearn for a homeland we don’t have.

7. Explore how you feel about how you feel.

Portman: It was kind of a revelation for me to acknowledge, through Oz’s book, that mood could be so influenced by when and where you live, and the feelings of that time and place about feelings.

8. There is no such thing as a bad metaphor.

Foer: Not even Shabbat can stop the clock — two have moved from the future to the past in the course of our having this exchange — but every now and then the broken-down time machine that is Hotmail can cough itself back to life.

9. Reading the dictionary is like giving birth.

Portman: Etymology might seem dry, but the connections between words feel to me like the connectedness I felt while giving birth — that I was related to every woman who had ever given birth throughout time. I guess it’s having an experience that gives you a feeling of wonder, to use your word, that you can then feel that you share with people — not just people around you, or people exposed to the things that you’re exposed to, but people in the desert looking at slightly younger versions of the same stars while herding sheep and believing that lightning was the wrath of God.

10. Finally, it’s all about self-knowledge. About being self-aware, at all times.

Portman: What I always look for in my work are new challenges — things I’m not sure I can do. And oftentimes I can’t do them, and I fail. But that’s what keeps me interested, and nothing offers knowledge and self-knowledge like failure.

Are You Having a Good Time?

The epigraph to Amie Barrodale’s new collection, You Are Having a Good Time, reads, “There are only two things. There is a successful miscommunication, and an unsuccessful miscommunication.” Barrodale’s tales are witty, but they can also be lumbering. Her unusual characters are in odd stories that are sometimes difficult to connect with. Barrodale keeps the reader at a distance, and off-kilter. At times, this works as a way to give a quality of observation to her stories, as in the award-winning “William Wei,” where we see a man living in his apartment, repeating actions until a mysterious woman takes him away. But as You Are Having a Good Time unfolds, Barrodale’s opacity becomes harder to parse. Are we to sympathize with these characters? Hate them? Often, observation becomes the only thing: They are fish in the tank and we are the ones watching from outside the glass.

The many strengths of Barrodale’s work include the way she artfully engages characters in miscommunicative dialogue. This is done brilliantly, particularly in light of the opening quote. Characters don’t listen to each other, and what they say out of distraction reveals a lot. In “William Wei,” the woman “often induced men to love her and then abandoned them. She said [to William], ‘Didn’t you notice how I forced this on you?’ [William] said ‘I don’t know what you mean,’ and she said ‘Yeah, that’s what I’m telling you.’” In addition to the creation of these beautiful missed opportunities, Barrodale’s reality is one where characters often realize the truth of a situation after they’ve walked away. Whether they’re understanding someone’s true intention, or what they missed, or when a relationship truly ends, Barrodale uses the pacing of her scenes to create tension, and then release it in unusual, provocative ways. Often, the way Barrodale ends a story is as original and fresh as her characterization of these hyper-focused characters.

Barrodale uses the pacing of her scenes to create tension, and then release it in unusual, provocative ways.

Characters in Barrodale’s stories are profoundly affected by addiction — to substances and strange behaviors. Jealousy, obsession, and even meditation are so acutely drawn that they haunt characters like ghosts. In “The Imp,” a story about a man who suspects his wife of having an affair, the man says, “By this time, I had hope. Maybe, I thought, maybe it will all work out. Maybe it’s true what she says — hadn’t I been acting strangely? Wasn’t jealousy another word for possession?” Barrodale understands how someone can be haunted by the spirit of obsession as much as a spectre. Superficiality reigns. In “Animals,” an actress is praised for being an ingénue, and then dumped as easily as she’s taken up. “Frank Advice for Fat Women” details a therapist’s obsession with both a young client and her mother. In each case, Barrodale shows us how obsessions hide dark, shameful traits, and how most people find it difficult to really look in the mirror.

You Are Having a Good Time examines the idea of art and creation in two of its latter stories, “The Commission” and “Mynahs.” In both, Barrodale seems to be saying that there’s an obsessive nature to what we create, as well, and a desire to try to control it after it goes out into the world. Mr. Tatsusuke, the creator of delicate pieces sold by a character in “The Commission,” wants his art to be in many hands.

He spent a lot of time with me personally, talking about the importance of touch. He said that a piece is beautified by being handled by all different sorts of hands, and he asked that I please place his work out, so people could touch it.

It’s easy to read Mr. Tatsuke’s theories as Barrodale’s own, and the jewelry he creates as an analogue to her stories. This is a beautiful idea, when we consider the story. As E.L. Doctorow theorized, the reader animates the text with his or her own experiences. Barrodale’s story recalls that idea. In “Mynahs,” Barrodale examines how plagiarism in the writing community can hurt the originator of an idea, but is often accomplished with little consequence. Though writing about writing (and workshops) can be difficult to sustain, Barrodale writes frustration well. If there is an element that unifies her characters, it is the impotent frustration they feel for trying to make others see what they want. Though she sometimes fails to make her characters elicit deep emotion, they are written in such a way that they present these frustrations as simple fact.

Barrodale’s style in the stories of You Are Having a Good Time is sparse. Sparse can work, but every once in a while her characters’ actions seem empty or methodical, devoid of purpose. The subtext is either missing or too difficult to discern through the staccato of her syntax. This is not an even collection, and as it progresses, it becomes more distant and difficult. Yet is that the way with most people? Perhaps Barrodale would have us believe it were so.

John D’Agata Redefines the Essay

John D’Agata’s lyric essays — and his defense of the essay as art form — have been at the center of an ongoing discussion on the roles of fact and truth in the literary arts. His newest anthology, The Making of the American Essay, the third in a series, has sparked even more debate over the very definition of essay, what falls under the category, and the significance of — and suspicion of and resistance to — artistic invention. D’Agata has generously responded to a few of my questions on these topics, as well as on genre, lies, punishment, pleasure, and social media.

— Susan Steinberg

Susan Steinberg: I often try to explain what you mean when you speak of the essay as different from nonfiction — when you refer to the act of “essaying.” You described this to me a few years ago, and I was listening to you, but I since have become unable to articulate what you said. I tend to land on “it’s about the process, not the product,” but I find myself saying that about most things. Can you repeat what the essay, to you, is? Or does?

John D’Agata: I like to think of the essay as an art form that tracks the evolution of consciousness as it rolls over the folds of a new idea, memory, or emotion. What I’ve always appreciated about the essay is the feeling that it gives me that it’s capturing that activity of human thought in real time. I think that feeling is what we all respond to in essays: the sense of intimacy that essays give us when we’re made to feel privy to another human being’s thought process. Our minds might be the only truly private spaces that any of us possesses, so to be given access to another person’s mind in an essay can feel wonderfully thrilling. I think that’s why Michel de Montaigne used that Middle French word to describe this literary form in the 16th century: essai. It means “to test, to attempt, to experiment.” The essay celebrates what makes us human because it celebrates thinking. It doesn’t celebrate polemics or fact-checking or whatever else our high school teachers turned it into. It celebrates the art of consideration.

Steinberg: Your anthologies are comprised of writings that some might argue aren’t essays. I argued, in fact, that my story was a story and not an essay, when you first got in touch with me about including it in your most recent anthology. I wanted to defend it as a fiction, in large part because I didn’t want to misrepresent the piece or myself; my concerns were of both a personal and a professional nature, and I now suppose they were somewhat fear-based. So my question is: have other writers or editors challenged your categorizing of the work you select, and what do you make of the attempts to maintain these genre distinctions?

D’Agata: The first anthology in the series, The Next American Essay, includes a short story by Susan Sontag entitled “Unguided Tour,” and suffice it to say, she wasn’t happy with my decision to include her story in the book. Just before the book came out I got an earful from her in a letter that knocked me sideways. She insisted that her story was a story and that it shouldn’t be interpreted as anything else. Unfortunately, the book was already in production by the time she sent that letter, so all I could do was write to her and try to explain why I’d decided to include her story, which is the same reason why I’ve decided to use a good number of other texts throughout this series of anthologies that are actually stories or poems. It’s not to reclaim them as essays, but it’s instead to try to think about essays from a different angle.

When a chapter from Herman Melville’s Moby-Dick appears in The Making of the American Essay, it shows up in the midst of a bunch of essays that have long been celebrated as essays — texts by Emerson, Thoreau, Mark Twain, etc. And so at this point in the anthology we’ve got essays on the brain. We’ve started noticing patterns in those texts, a kind of “essayistic” sensibility that’s recognizable no matter what sort of subject matter it’s applied to. But then: Moby-Dick shows up, and we’re probably thrown off our guard. What I hope, however, is that we are reading this anthology with an open mind and that we are willing to go along with that text’s inclusion for at least a moment, and thus that we are willing to temporarily imagine that that chapter from Moby-Dick is indeed an essay.

So say we do that. Say we read that piece of Moby-Dick in the context of all of those other essays that surround it in the anthology. Does that section of Moby-Dick read differently? Do we see anything in it that’s similar to the other texts around it? Can we recognize the same essayistic movements in Melville that we’ve been noticing throughout the rest of the anthology? And, if we can, then what does that mean? Does it change our perception of Moby-Dick? Does it change our perception of the essay?

What is an essay, after all, if we can see it working as a propulsive force in fiction or poetry? Can we call the essay its own genre if it’s so promiscuously versatile? Can we call any genre a “genre” if, when we read it from different angles and under different shades of light, the differences between it and something else start becoming indistinguishable? If our perception of a text can so easily change the moment that text is placed in a different context — an essay collection one day, a poetry collection the next — is it possible that the borders between genres are not the towering blockades that some people fiercely defend them as?

When The Next American Essay came out, I sent a copy of the book to Ms. Sontag along with my sheepishly argumentative letter, and she replied with a postcard that basically said “Okay. I sort of see what you’re trying to do. Signed, Susan Sontag.” I took it as a compliment.

Steinberg: If memory is unreliable, perspective is subjective, and emotion is unfixed, then what is the function and/or responsibility of “fact” in essays? I ask because I’m curious about your relationship to fact, but I’m also curious about your thoughts on readers’ fixations on the notion of truth. If a misconception about essay writers is that they’re truth-tellers, then do they often run the risk of disappointing the reader? How can essay writers confront or undo what seems to be an impossible-to-fulfill expectation?

D’Agata: Facts are akin to images, for me. That probably strikes some as a perverse statement, but I say it as someone who turns to essays for literary experiences only, and for that reason, when I’m reading I don’t need facts to do much more than resonate with the rest of the story that’s being told.

But that’s not the case with every reader, of course. We’re all looking for different things and have different expectations when we read. Yet for that very reason we do a disservice to both the essay and its readership by suggesting that everything that falls beneath the umbrella of “nonfiction” ought to be written by the same rules and for the same audience. There are some nonfiction books that traffic primarily in facts, by which I mean that we value them for the facts and information that they introduce to us and the ways in which they organize them. And those books are great. I’m a rabid reader of history and science, for instance, and I turn to those genres because I want the information that their dustjackets proffer: A Story about X and How It Changed the World. And while I appreciate those books being well written and am always down for great storytelling, I’m not necessarily expecting that from those books or looking for that when I read them. When I read a memoir, on the other hand, I’m hoping to bear witness to an exhilaratingly expressive voice and am therefore expecting a completely different literary experience. I don’t care about the facts in that case; I care about the story.

Writers can help the issue by not insisting that everyone else write their “nonfiction” the same way they do.

Writers can help the issue by not insisting that everyone else write their “nonfiction” the same way they do. When my book The Lifespan of a Fact came out and started ruffling some feathers, there were a lot of famous writers who went out of their way to distance themselves from the book by denouncing it in self-serving ways. Some wrote op-ed letters or spoke up at writing conferences or Tweeted vigorously in order to declare that they would never do what I was advocating in the book. And I get that. Or, I mean I kind of get that. On some level I understand where that was coming from because the book was openly discussing a taboo subject in the nonfiction world, and it’s hard to cleanse yourself of that kind of taint once it gets on you. So distancing yourself as much as possible makes sense.

Yet on the other hand, aren’t we artists? Isn’t one of the duties of art to explore the outer reaches of our media, to go to places that our culture says are off-limits? It seems a little cowardly — or at least ungenerous — to attack someone just because they make their art in ways you do not want to make yours.

Steinberg: Do you feel there’s pleasure associated in punishing the essay writer who has been “caught in a lie”? Is punishing is too strong a word?

D’Agata: “Punishing” is probably too strong a word, as is “pleasure.” Catharsis might be more accurate. I think some people probably feel empowered by attacking writers whom they think have wronged them. Others of course may feel pressured to do it. Oprah’s decision to chastise James Frey was due to the pressure that she felt from her fans after it was revealed that some parts of his very popular memoir — which she helped make popular when she selected it for her book club — had been exaggerated. I think that’s why she decided many years later to apologize to Frey, because she realized that she’d been bullied by popular opinion. I found it interesting that she chose to apologize to him in private, however, rather than on her show.

Of all places, literature and art should be where uncertainty can be explored and is relished and even championed.

So while I’m not sure what is accomplished by “punishing” such a writer, I do understand the cathartic benefits of doing it. Our economy’s wobbly, our security’s being threatened, and who knows what’s happening politically right now? We’re chatting during a season in which the Republican nominee for the next presidential election is spewing inaccuracies on almost a daily basis, and for some reason no one seems able — or willing — to hold him accountable. It’s hard to know what to trust. So it makes sense that a book which presents itself as x yet turns out to be y would frustrate and anger some readers because we’re frustrated up the wazoo with everything else that’s going on. But the problem with getting angry at that kind of instability is that our anger is misdirected. Of all places, literature and art should be where uncertainty can be explored and is relished and even championed. It might make you feel better to tell me that I should kill myself (as someone did after my last book) because you don’t like how I wrote something, but the problem with that reaction is that 1) I’m not going to kill myself, and 2) you’re shutting yourself off from the very literary experience that I’m trying to offer. A lot of my work is about questing certainty, questioning genre, questioning the very assumptions that we make about the world.

Steinberg: What might a “lie” in an essay look like?

D’Agata: For me, a “lie” is something that feels incorrect on the page, which I think is the difference between verifiability and veracity. Something that’s verifiable can be fact-checked beyond the world of the text. But veracity — or truthfulness — speaks to the believability of what’s on the page and what’s going on in the world that has been created by the author. While reading, if I can move through a text without wondering whether or not what I’m reading is “real,” then that text has done its job of capturing the truthfulness of whatever it is that it’s exploring. And that’s what I’m looking for when I’m immersed in a literary experience.

But it’s a whole other story beyond the realm of literature. When I’m reading a news article about the banking industry, or a medical textbook about how to fix my heart, or a set of instructions on building a suspension bridge, I’m not looking for a literary experience. I want every fact in those texts to have been verified multiple times. We do the literary essay a disservice, however, when we expect from it the same kind of verifiability as we would from a medical text book.

Steinberg: As a fiction writer writing first-person narratives, readers ask if I did the things my narrators do. In these moments, which I would argue are often gendered, I know I can exercise the right to hide behind the word “fiction” as a polite way of saying “what difference would it make if I did (or did not).” How do you, as an essay writer, maintain a separation between you (John, the person) and your characters, aesthetic choices, and narratives?

D’Agata: There is a separation. I don’t know how else to say it: there just is one. The history of the essay is a history of personas, and of writers using those slanted versions of themselves to tell bigger stories than themselves so that they can explore bigger themes. Throughout the essay’s history the persona has been the vehicle that has propelled this genre into the stickiest and most evocative places it’s visited.

The persona has been the vehicle that has propelled this genre into the stickiest and most evocative places it’s visited

It’s true, though, that a lot of writers have struggled with the contradiction of writing through themselves but not really of themselves. In the 16th century, Michel de Montaigne wrote extensively about the fabricated self that he was presenting on the page. “I may presently change,” he once wrote, “not only by chance, but also by intention.” In the 18th century, Charles Lamb admitted to “the assumption of a character . . . which gives force and life to writing.” Virginia Woolf struggled too between “Never being yourself and yet always — that is the problem.”

I think of it the way I imagine actors do, which is that while I’m definitely using some portion of myself in order to create a persona, the character that ends up on the page isn’t my full self. My previous book was a collaboration with a fact-checker called The Lifespan of a Fact which tried to address this. It replicated the exchanges that the fact-checker and I had while we were fact-checking one of my essays for a magazine. Because the argument in the book is partially about the “shaping” that’s necessary in all art forms, we recreated some of our exchanges, completely fabricated others, and cast ourselves as two characters that were loosely based on us but were not actually us. And in order to spice up the drama in the book, we each assumed an exaggerated role: he, the poor mistreated intern who’s heroically trying to nail down every fact in the piece; and I, the arrogant and pompous diva who won’t allow anyone to mess with his art.

When the book came out, we gave lots of interviews in which we talked openly about the fabricated nature of the book, and yet some people still insisted on reading those characters as real. Reviewers did it too. I was called a “jerk” by a few very famous publications because the assumption was that I was the “I” that appeared on that page. What this taught me is that even when we’re told otherwise, and even when we know otherwise, we still let the stranglehold of the term “nonfiction” dictate how we read something. We still insist on reading that “I” as a mirror of the author. And so now, in many people’s minds, I am that “jerk” that they read in The Lifespan of a Fact. I’d say this frustrated me if I didn’t find it so fascinating and baffling.

Steinberg: There is no perfect segue into this next question, though I believe it’s connected to much of what you’re saying about persona and reality and how we respond to writing. What are your thoughts/feelings about social media? And what are your thought/feelings, if any, about writing essays in the context of an online culture that’s manufacturing a seemingly endless stream of writings and visual texts many would call “essays”?

D’Agata: I don’t have any social media accounts, and I don’t follow any either. Actually, that’s not true. I follow a couple Instagram accounts of funny celebrities. I don’t consider those essays, though; I just consider them funny. I could imagine an Instagram essay, however — something that mixes image and text in an episodically narrative way for a defined extent of time, like during a trip or a pregnancy or something like that. I’m sure there are such essays already, in fact, but until Chris Pratt writes one I probably won’t encounter any.

But if you’re asking whether I’d call them essays? Yeah, sure. I haven’t seen any yet, but I don’t know why they wouldn’t be considered essays. Even a simple blog that explores the daily activities of someone’s dog can be essayistic. It might not be very good, but that doesn’t mean it’s not essaying the idea of dogness. There’s an awful lot of crappy fiction and poetry out there that’s still called “fiction” and “poetry” even though it’s lazy or derivative or panders to the broadest common denominator of readers. But it still gets to call itself fiction or poetry. Quality can’t be a standard for inclusion in a genre.

Steinberg: I, too, have avoided social media. Several writers have told me this is crazy, whereas others have congratulated me. Both responses seem exaggerated, and both reinforce my decision to stay away from it. I’m wondering why you’ve chosen not to use it.

D’Agata: I’m not sure I have an interesting reason for avoiding social media. I felt a little brutalized on Twitter and Facebook during the broohaha surrounding my Lifespan book, so some of my reasons might be a little transparent. I prefer not to invite other people’s feverish anxieties into my life. But I also just like my privacy, so I’m not really a great candidate for platforms that encourage users to share their every thought with the world . . . and every meal, workout, vacation photo . . .

Steinberg: At the end of The Making of the American Essay, you have included a note on the title in which you elaborate some on the word “making.” I confess that before I read this note, I was going to ask why you chose this particular word. But instead I’m going to ask what you think could be the “unmaking” of the American essay.

D’Agata: Not letting the essay essay, not letting it grow and explore and change as a genre. That’s what could be its unmaking: not letting the essay essay.

About the Interviewer

Susan Steinberg is the author of two story collections. The most recent is Spectacle, from Graywolf. Her work has appeared in McSweeney’s, Conjunctions, American Short Fiction, and elsewhere. She has held residencies at the MacDowell Colony and Yaddo, and teaches at the University of San Francisco.

11 Great Seaside Novels

American culture has embraced certain summer behaviors. Post Memorial Day, we eat ice cream, grill outdoors, watch fireworks, and read vacuous and/or suspenseful books at the beach. Beach reads are meant to be easy reading. They’re mysteries, family vacation dramas, and tales of single gals looking for love and success in the big City. (In winter, many beach reads are more derisively called chick-lit.) The idea that we all want to flop on the beach and read the literary equivalent of reality TV stems from a history of inexpensive popular literature (see: the rise of cheap post-WWII paperbacks) and has been exacerbated by our unhealthy desire to label certain actions as “guilty pleasures.” At the beach, Amazon suggests with its list of flashy covers, you’re allowed to read the books you secretly want to read all year.

What about those of us who believe that lying prostrate on a beach towel is the perfect time to engage our minds? Is there a literary beach read?

Well, there are literary books that embrace at least one of the most common qualities of a beach read: they take place at the beach. (In fact, if your book takes place at the beach and is labeled as any genre other than literary fiction, you’re pretty much headed straight to the beach reads table.)

Flaubert’s Madam Bovary nailed the appeal of the beach for a tired mind when she said, “Doesn’t it seem to you that the mind moves more freely in the presence of that boundless expanse, that the sight of it elevates the soul and gives rise to thoughts of the infinite and the ideal?” The ocean, in literature or in life, is mind-expanding, relaxing, and meditative.

Here then is a list that aims to transport and engage: 11 works of literary fiction that take place, in some integral part, at the beach.

1. The Sea

by John Banville

Max Morden retreats to Ballyless, a fictional town on the Irish coast, after his wife Anna dies from cancer. Max doesn’t choose this spot randomly; he spent his childhood vacations in Ballyless and the place, imbued with history and nostalgia, becomes the catalyst for our deep dive into Max’s pensive state of mind. John Banville might be physically incapable of writing the type of sentences necessary for a “beach read” —even his mysteries under the pseudonym Benjamin Black are densely worded — but it would be hard to find a beach with a stronger pull. Ballyless mirrors Max’s state of mind: it’s dark and moody, with raging tides and rocky cliffs. So while Banville’s Booker Prize-winning novel is not a classic “beautiful beach,” it will make whatever beach you’re on more appealing.

2. The Blackwater Lightship

by Colm Tóibín

This quiet yet potent novel is set in Tóibín’s childhood home of County Wexford, Ireland. The book centers on a woman named Helen after she learns that her brother Declan is gay — still a taboo and a mostly unwelcome prospect in 1990s Ireland —and dying from AIDS. Declan asks her to break the news to their mother, with whom Helen is estranged, so Helen and Declan retreat to their grandmother’s house with the task. The wild coast near the house is a force to be reckoned with: when the group goes for a swim, it’s a dare-you-to-go-past-your-knees hopscotch through the freezing surf, and you commend them for their bravery, in this small act and others.

3. Sag Harbor

by Colson Whitehead

This coming of age story of 15-year-old Benji is both familiar (he’s concerned with music, girls, clothes) and unique; it’s 1985 and Benji’s family is part of a small, moneyed set of African Americans who own beach houses in the exclusive Hamptons enclave of Sag Harbor. The novel works on both levels, melding the Dandelion Wine-like meanderings of a teenager in summer with the ramifications of being a black boy in a white man’s territory.

4. High Dive

by Jonathan Lee

High Dive introduces us to Brighton, but not from the point of view of the pale sunbathers who dot the boardwalk and beaches. Instead we get an insider’s look at the industry which caters to the vacationers, and specifically the staff of the the Grand Hotel in the run-up to the 1984 Conservative Party Conference. High Dive is written around a historical event and the novel’s tension comes from already knowing the ending — a member of the Irish Republican Army planted a bomb that killed two men and three women, though missed its target, PM Margaret Thatcher — but much of its allure comes from spending time with the staff of the hotel.

5. The Stranger

by Albert Camus

Even if you haven’t read this novel since high school, you probably remember the beach scene. A quick recap: Meursault, the protagonist, is walking on the beach after a confrontation between himself, his friend Raymond, and the character known as the Arab. Under the piercing North African sun, Meursault becomes hot to the point of being deranged. Though Meursault deescalated an episode of violence earlier in the day, when he encounters the Arab again, he shoots him. And shoots. The reason for Meursault’s overreaction (racism? nihilism? sunstroke?) is something to be meditated on at the end of the book, but in the meantime, Camus’ depiction of heat will make you squirm. Maybe best to bring this one to the pool.

6. The Woman in the Dunes

by Kobo Abe

If you’re dedicated to the idea of sand as that pleasant, pillowly pile of grains that you sit on while you watch the ocean, you might not want to read this existential novel from Kobo Abe. The Woman in the Dunes is the fable-like story of a school teacher named Jumpei Niki who visits a fishing village to collect insects. When he misses his bus home, the villagers offer him a house in the dunes to stay the night. In the morning, the man discovers that the villagers have taken away the rope ladder which was the only means of leaving the house, and now he’s trapped there alongside a young woman. Together they must shovel out the encroaching sand in a Sisyphusian task that the villagers won’t let them escape.

7. The Veins of the Ocean

by Patricia Engel

This novel doesn’t take place on one beach, but many, landing in Havana, Miami, Cartagena, and the Florida Keys. Like a good beach read, Engel’s language is rich, evocative, and easily transports you to another place. But beautiful settings don’t protect against violence — look at Marquez’s short story “The Most Handsome Drowned Man in the World” — and here the beauty of Reina Castillo’s surroundings heightens the brutality of the men around her.

8. The Sea, The Sea

by Iris Murdoch

If you read enough books you start to believe that Britain’s shores aren’t just lined with seashells but with nostalgic, misanthropic old men. The Sea, The Sea is no exception. In Murdoch’s novel, Charles Arrowby, a successful and egotistical director-playwrite, leaves London to seclude himself away in a house by the sea and mull over his life, love, and career.

9. Death in Venice

by Thomas Mann

Mann’s novella takes place on the beaches of Lido, one of the many islands in the Venetian lagoon. Gustav von Eschenbach, a well-regarded German writer, goes to Lido for a holiday and quickly falls into the trap that literature has set for successful older men at the beach: he becomes pensive, sour, and nostalgic for his youth. Eschenbach’s problems manifest after he sees a strikingly beautiful young boy at at his hotel. The narrator’s infatuation with the boy grows into obsession as a cholera epidemic rages through the city.

10. On Chesil Beach

by Ian McEwan

In other hands, McEwan’s novel could have been a true beach read. Consider the setup: it’s July 1962, and Edward Mayhew and Florence Ponting are spending their honeymoon in a small hotel right on the Dorset coast. What follows could be a work of romantic historical fiction or even a book with a Harlequin twist (Florence shuns Edward for the hunky bell boy, shirts are ripped.) Instead McEwan plumbs the dark depths of a new marriage between two people who are not on the same page emotionally, socioeconomically, or sexually.

11. Claire of the Sea Light

by Edwidge Danticat

Claire of the Sea Light takes place in the fictional seaside town of Ville Rose, Haiti. The novel is woven from the interconnected tales of the town’s residents after Claire, a young girl, disappears. Each character offers a new glimpse into the town’s troubles with class, corruption, and violence.

My Underwear Didn’t Save Me: The Mormon Story I Kept Telling Myself Fell Apart

It didn’t seem right that Belgian snow stuck to my boots and turned to gray muck in the gutters just like it did back home in Idaho. The winding streets crammed with squat brick buildings were disorienting, but when I brushed my fingertips along the bricks, they scratched the same. I touched the buildings to ground myself, trying to shake this sensation of what the hell am I doing here? although I didn’t use words like hell, except when reciting Bible passages.

Strangers’ mouths puffed the same steam, but made unintelligible sounds of ooo-voo-too. Even I was alien to myself, dressed in a skirt and a nametag introducing me as Sister Wells.

Sometimes I “accidentally” let my long hair cover this tag; I hated having strangers know my name. But at least I knew where I was: Charleroi, Belgium — the world’s ugliest city, according to the Internet. On my first day there, a dreary Thursday in December of 2003, I did not disagree.

And I knew who I was: a twenty-one-year-old virgin who didn’t drink alcohol or caffeinated beverages, avoided R-rated movies and cigarettes, and paid 10 percent of my income to the Church of Jesus Christ of Latter-day Saints. My blonde hair and sturdy body were an inheritance from ancestors who hauled handcarts across the plains. In the midst of my homesick anxiety and culture shock, the story I kept telling myself was grounded in Mormonism.

In the midst of my homesick anxiety and culture shock, the story I kept telling myself was grounded in Mormonism.

Like most sister missionaries, I had attended three hours of church on Sundays for my whole life, an hour of seminary every day in high school, and three years of gospel study classes at Brigham Young University. So I spent my brief time at the Missionary Training Center focused on learning French and techniques for starting conversations with strangers. I was terrified; how could I take all my doctrinal knowledge and personal experience, put it in the palm of my hand, and offer it to a stranger?

My first try was on the flight to Brussels. I sat next to a professional snowboarder from Germany who asked about my name tag. He looked less than thrilled when I whipped out my blue paperback copy of the Book of Mormon and put on my friendliest tour-guide voice.

“You probably know us as Mormons, but that’s just a nickname. We are the Church of Jesus Christ of Latter-day Saints, and the Book of Mormon is another testament of Jesus Christ.”

He didn’t react. I plowed ahead. “This book begins with a family living in Jerusalem in 600 BC. The father, Lehi, was a righteous man. God warned Lehi that Jerusalem would be destroyed, so Lehi left with his family and sailed to the Americas, where they settled. They’re the forefathers of modern Native Americans.”

I’d grown up next to Fort Hall Reservation and marveled at their oblivion to their incredible heritage. But now, explaining this to a stranger, it occurred to me that none of the Native Americans I knew looked Jewish. I ignored the thought and opened the book, showing him the vivid, detailed illustrations of burly, chiseled men with beards.

Explaining this to a stranger, it occurred to me that none of the Native Americans I knew looked Jewish.

“This new civilization splintered into two groups,” I continued. “The Nephites were the righteous group, because they followed the good son, Nephi. The other group, who followed the wicked brothers, were called Lamanites.”

I didn’t mention that until 1981, the Book of Mormon described Nephites as “white and delightsome,” but then “white” had quietly been changed to “pure.” Nor did I tell him how it still said “the skins of the Lamanites were dark” because they were “cursed.” I followed the Prophet’s directions to teach “milk before meat,” although it suddenly felt like I was lying about my religion. I picked up the needle of my thoughts and placed it on a new track. The gospel is true. The gospel is true.

Dr. Jocelyn Elders, the first African American Surgeon General of the US once said, “You can’t be what you don’t see. I didn’t think about being a doctor. I didn’t even think about being a clerk in a store; I’d never seen a black clerk in a clothing store.”

One day in Belgium I saw a billboard advertising a new show, The L Word. We had been knocking on doors all morning, getting rejection after rejection, and my feet, knuckles, and ego were all sore. Standing there on the sidewalk, wearing my conservative outfit and nametag, I gazed up at the seductive pouts and windblown hair of those skinny high-femmes and thought I really want to watch that followed quickly by Ew, gross! What is wrong with you? and a prayer for forgiveness.

Before going on a mission, I went through the temple endowment ceremony and began wearing the garments, or special underwear consisting of a white T-shirt and shorts. Temple rituals are so sacred that no one talks about them except in vague terms, so the ceremony was a surprise — especially when most of it was a movie.

I sat in a small, white-and-gold auditorium with about thirty other templegoers and watched a re-telling of the Garden of Eden story from the Book of Genesis. Onscreen was a passive Eve, a blindly patriarchal Adam, and a God and Jesus with matching beards and sparkly white robes. The film was paused from time to time so we could learn “signs and tokens,” essentially handshakes and passwords, that were required to get into heaven. Everyone put on special clothing over our white temple outfits, including green aprons and white silk togas. Women put on veils and made bowed-head promises to be subservient to our husbands. There was a chanted prayer around an altar.

Temple rituals are so sacred that no one talks about them except in vague terms, so the ceremony was a surprise — especially when most of it was a movie.

The whole experience was surreal and difficult to swallow. I’d concluded years earlier that the Bible’s stories were mythologies for a less sophisticated audience. But here was the Forbidden fruit, two white humans created in a blink, and expulsion from Paradise, all presented as literal.

I waited for the joke to be up — for my mom to take off the veil and shake out her blond hair while everyone laughed, saying, “Don’t be silly! Why would God want us to dress oddly and chant? And of course you can ask questions!” But she didn’t.

The worst part was swearing on my life to never reveal the details of this ceremony. Five generations of my family had been “sealed” together for eternity in temples, and I was terrified of being the weak link. A lifetime of hearing, participating in, and guarding this sacred ritual loomed before me, and my underwear would constantly remind me of it.

I spent several pre-mission summers in central California, living with and working for my father, who was a defense attorney for men on death row. A large part of my duties included proofreading hundreds of pages of briefs and appeals, including detailed social histories and interviews with the inmates. The narratives of these men’s lives were written in a spare, journalistic tone.

As a white, Mormon teenager from a rural town, I’d never heard the terms “systemic racism” or “generational poverty” — not that these phrases were stated explicitly. But reading matter-of-fact narratives acquainted me with the specific horrors of these terms: adult backs still striped with scars from childhood beatings; watching friends and family be gunned down, often by police; young boys placed in institutional correctional homes and witnessing other residents be raped by staff and/or older boys.

The most damning story was about a young black man, whose life story included all of the above. He was accused of a murder in which, judging by the courtroom transcripts, it wasn’t clear who had literally pulled the trigger. This man’s white accomplices got off with a wrist-slap while he was sentenced to die.

This man’s white accomplices got off with a wrist-slap while he was sentenced to die.

In the air-conditioned chill of those sterile offices, a red pen in my hand, my clear-cut worldview of good and evil — of saints and sinners operating in an equal-opportunity society — began to erode. Now when the news reported a crime, I wondered what parts of the story weren’t being told.

In April of 2003, right before my mission, the Prophet Hinckley said, “Each of us has to face the matter — either the Church is true, or it is a fraud. There is no middle ground. It is the Church and kingdom of God, or it is nothing.”

Despite being a voracious reader, I never cracked open a book or visited a website that might have been critical of the Mormon church until I was twenty-five. I’d been home from my mission for two years and was graduating from BYU. Until that point, any time I questioned doctrines (for example, why could only white men hold the priesthood until 1978?) I put the issue aside, on a metaphoric “mental shelf,” confident that someday my concerns would be answered. But after the temple and my mission, this shelf was groaning under the weight.

When I discovered Postmormon.org, an online community of Mormons who had a “faith crisis” and left the church, I spent an entire night reading their exit stories. By morning, my shelf had shattered. I had believed that leaving Mormonism would only lead to misery, depression, and whoring in back alleys for meth before dying alone. I literally couldn’t conjure up the story of leaving and being happy until I read it…and read it again and again and again.

The most helpful therapist I’ve ever had was an interrupter. She would stop me mid-sentence, prod me to consider another point of view and remind me to stop using hyperbolic terms. At first I balked; my opinions and perspective were truth! But as a writer, tinkering with a story is appealing, even my own. So I learned to slow down, examine my viewpoint from different angles, and be conscientious of my word choice. And when my head and tongue re-framed my story, my “truth” shifted.

Writing a first draft is cathartic, sure, but to move beyond that and begin editing, you must view your previous self as a character.

Perhaps this is why memoirists often say the process is therapeutic. Writing a first draft is cathartic, sure, but to move beyond that and begin editing, you must view your previous self as a character. Shifting to this perspective forced me to admit how little authorial control I have on what happened and, all too often, on how life continues to unfold. All I can really control is how I’m telling the story.

The night my faith crumbled, I lost the stories that framed my world. Gone was the war of good and evil, the host of invisible angels and demons fighting over my soul, and the hand of an omnipotent Heavenly Father, watching and waiting to bless or curse me. My eyes burned from reading all night, but the rest of me felt even worse.

The night my faith crumbled, I lost the stories that framed my world.

Under a dim blue sky, I drove and then hiked up to my favorite spot in the foothills overlooking Utah Valley. The sun rose behind me, sparkling on Utah lake and the windows on BYU campus. I felt the dirt beneath my shoes, the pulse of my heartbeat sending blood through my veins, the wind prickling my hair. My underwear was just fabric. Everything I couldn’t touch now felt like a question.

It’s still strange to be around practicing Mormons, especially my family. Their religion is now like a pair of glasses I can take on and off, watching that familiar view of the world go in and out of focus until my eyes ache. Sometimes I catch a glimpse of myself in that lens: an apostate, a lost soul, a quitter who was seduced by the world and couldn’t hold on to the iron rod. But that is their version. I get to write my own.

The Last Station: Gentrification, Fire and Protest in Istanbul

I was seventeen years old when I arrived at Haydar Pasha Station in Istanbul. I got off the train and walked down the marble steps where the Station met the sea. Instead of admiring the Station’s magnificent facade, I stared at the old city across the Bosphorus. I saw Istanbul for the first time then.

I had taken the Blue Train the night before at eleven o’clocks and reached the last stop at eight in the morning. Haydar Pasha Station was the end of the railway line on the Asian continent. There began the sea, then Europe. I came to Istanbul to study law but I was more excited with the city itself than studying at the university. It was a warm day. I could see historical buildings through a thin fog: the city walls, the roofs of Topkapi Palace, the dome of Hagia Sophia Church and the minarets of the Blue Mosque.

Whenever I recall that moment I think of what Herman Melville wrote about his visit to Istanbul in 1856. It was a few years after the publication of Moby-Dick. He was an unsuccessful writer despite his great books and was still floating from one sea to another. He wrote in his diary:

“The fog lifted from about the skirts of the city. It was a coy disclosure, a kind of coquetting, leaving room for the imagination and heightening the scene.”

I sensed on the first day that Istanbul would always embrace me with a light curtain of fog. Any time I would return to Haydar Pasha after school holidays I would meet Istanbul through that curtain. As the years roll on I now realise that my past has become more distant, the fog of my old days are denser, and the Station’s vivid times are vague.

Istanbul Fog, by Aviad 2001

Haydar Pasha Station was designed as the beginning point of a railway line towards Asia-minor and improved to accommodate the northern terminus of the Baghdad Railway line in 1904. Because of increased traffic, a larger building was needed, and two German architects, Otto Ritter and Helmut Conu, were appointed to carry out the job. They chose a neo-classical style to build the new station. The origin of the Station’s name is not certain but it is assumed that it was given in honor of a high ranking Ottoman officer, Haydar Pasha, who had served to the Sultan Selim III.

It is rather a gate opening to a great city than a mere station. As you come out of it you see a few steps going down to the pier where a ferry takes you to the city. It is the spot where Istanbul and the rest of the country unite. Trains carry people from small towns in the provinces to that picturesque spot by the Bosphorus.

The poetry book of Human Landscapes From My Country by Nazım Hikmet begins there, in front of the Station:

“Haydar Pasha Station,

spring 1941,

3 p.m.

On the steps, sun

fatigue

and confusion.

A man

stops on the steps,

thinking about something.

Thin.

Scared.”

It is not a coincidence that Nazım Hikmet picked Haydar Pasha Station for the opening of his grand book. It is a kind of verse-novel: 17,000 lines describing different people, through whom a whole picture of a country can be seen. Hikmet (1902–1963) is regarded as the greatest poet of modern Turkish literature. He began to write Human Landscapes during the Second World War, while in prison, serving a twenty-eight-year sentence for his communist beliefs. He gave the stories of the people on the train — in its cars, its restaurant, in the locomotive — and talked about their past and their dreams. He used his pen in a cinematographic way and presented the collective memory of a nation, alongside its fears and hopes, in an epic style.

If you are an author in Turkey you are destined to write about Istanbul sooner or later. I have come to that point in my third novel, Istanbul Istanbul. When I was working on it, my mother — my lifelong advisor — asked me what I was writing about. “About Istanbul,” I said. There was a pause on the other end of the telephone line. “The train station,” she said with a tender and confident voice, “you should not forget to mention the train station.” I scanned my mind to recollect what I had been covering in my novel. Writing about Istanbul required plenty of work. I had done my research, taken notes down and formed stories. But on hearing my mother’s words, I realized that I didn’t have a story taking place around Haydar Pasha Station. She, an illiterate Kurdish woman from rural Anatolia, opened a crack in my mind, as she had always done with her fairytales when I was a little child. She had fed me not only with milk but also with stories about rascal jinnies, faraway seas and invisible cities. And now she once again blew her breath into my chest and led me to put some ornaments of her mind into my novel. In Istanbul Istanbul there are some pages, like the opening story of chapter nine, written and designed in line with her wish. It is a story that takes place on the steps of Haydar Pasha Station, where helpless lovers fall in despair and at the same time find a glimpse of light. They are the same steps where Hikmet’s Human Landscapes began.

There are some cities you don’t need to see in order to fall in love with. Istanbul is one of them. I had fallen for her before I arrived at Haydar Pasha Station. I knew her through stories, novels, paintings and songs. But meeting her was not easy for a boy of seventeen like me. The speed, the enormity, the finely tuned chaos of the city was a world away from where I grew up, a small town in the middle of the plains. And the times were not easy for the people of Turkey either. There had been a military coup a couple of years before, in 1980. A heavy atmosphere was hanging over the city. Curfews, prohibitions, tortures, and book burnings were part of daily life. But despite all this, we had dreams in our hearts. We had an imagination of another way of life. We knew Istanbul was not a calm city to live in. The cost of living was high, and there were unemployment, traffic, crime, and intolerance. But it has always left room for the imagination as Herman Melville wrote: “The fog lifted… leaving room for the imagination.

İstiklal Caddesi Tram

In France they say, “All poets are born in the countryside but die in Paris.” Istanbul has the same essence. Our poets and writers pen shady lines or lively scenes and indicate through them where they should be buried. Some acknowledge Istanbul as the junction of historical geographies, the meeting point of East and West. Some see it as a land of desire and mysticism and relate it to past eras. The Turkish poet Yahya Kemal, the short-story writer Sait Faik, and the novelists Ahmet Hamdi Tanpınar and Orhan Pamuk have approached Istanbul from different perspectives. Each of them has created his own city, unlike the others in its literature.

When you are underground there is only one direction that matters: upwards, toward the sky.

In Istanbul Istanbul, I wanted to portray the city as the unification point of time and space and the melting pot of opposing tendencies in life. I preferred not to talk about past golden ages. That approach has already been used up in our literature. In my novel, space and time converge on a prison cell three floors underground. When you are underground there is only one direction that matters: upwards, toward the sky. Time moves differently underground. On the surface, time is linear — past and future eclipse all else, and what matters is less where are you than where you’re going. Underground, past and future mean nothing. There is only the eternal, often agonising, now. By focusing my novel on prisoners in a subterranean cell, discussing the city above, I wanted to unite time and space, hope and hopelessness, darkness and brightness. They are all together and one. Istanbul is the name of that wholeness. Wherever you were born, you come to Istanbul to be part of its wholeness.

Istanbul is too real and at the same time too ambiguous. It makes possible both good and bad. When I was in one of those interrogation cells I felt the underground was the place for evil, while aboveground seemed to be the place for good. But instead of writing about good and evil, I wanted to explore the shades between them and to show how they exchange places.

Istanbul as a metropolis is not only the heart of this country but also the future of it. The beautiful and the ugly in Istanbul reflect the future of our people. That’s why it is now also the heart of our politics.

The Conservative bodies believe in the past. They think the best days are behind us. With passed utopias before their eyes, they don’t hesitate to ruin the present. They are wiping out the city’s green areas and constructing tall buildings. They call it progress. That’s why people feel obliged to defend this city against greediness. And now the word ‘beauty’ is not only an aesthetic word but a political word, too. When people call for beauty in Istanbul, the responses they get are police, tear-gas and the rise of construction firms in the stock market.

And now the word ‘beauty’ is not only an aesthetic word but a political word, too.

In the tales of my childhood there was always a place for heroes to suffer and then emancipate. Istanbul is now the place of both suffering and emancipation in our contemporary writing. We write about Istanbul with the hope that its beauty will shape our future.

After having witnessed two world wars, the invasion of the British army and the exile of Armenian intellectuals, the Haydar Pasha Station met its latest disaster on 28 November 2010, when a fire began on top of the roof. The fire was stopped before it was too late, but following the fire the station was closed down.

It was a suspicious fire. It came about the same time as legal debates were being held regarding Haydar Pasha Station and its surroundings. The government wanted a new development in the area, turning Haydar Pasha’s castle-like building into a fancy hotel. But the public opposed it and the legislative charter for the development was suspended by the court. Various international institutions, like the New York-based World Monument Fund, have added Haydar Pasha to their agenda, emphasising the uncertain future of the railway.

Haydar Pasha solidarity defending the station

Local authorities promised to renew railway lines and resume train journeys again by the end of 2015. But not a single rail line has been renewed so far, nor has there been any sign of reopening the Station. Istanbul dwellers are aware that Haydar Pasha might be another victim of urban gentrification. That’s why they have formed a new civic organization under the name “Haydar Pasha Solidarity” and launched an effort to save the Station, organizing concerts, exhibitions, and demonstrations. They also read out some lines from Human Landscapes, where Nazım Hikmet, many years ago, pointed out the merciless face of urban gentrification, which tears apart past and present:

“Concrete villas.

Lined up all the way to Pendik.

The trees are mere saplings,

the grapevines just greening.

The 3:45 train goes screaming past.

Concrete villas.

The Secretary Pasha’s summer house,

a forty-room marvel,

has been torn down.

Now it’s concrete villas,

concrete villas

all the way to Pendik.”

About the Author

Burhan Sönmez is the author of Istanbul, Istanbul (2015), Sins & Innocents (2011), and North (2009). He was born in Turkey and grew up speaking Turkish and Kurdish. He worked as a lawyer in Istanbul and was a founder of the social-activist culture organisation TAKSAV (Foundation for Social Research, Culture and Art). He has written in various newspapers and magazines on literature, culture and politics. He was seriously injured following an assault by police in Turkey and had to move to Britain to receive treatment with the support of Freedom from Torture in London. He now lives in Cambridge and Istanbul.

It Is Strange to Be a Human: an Interview with Author Chelsea Martin

I think of Chelsea Martin’s work — her chapbooks Dream Date and What I Want and What I Want, her book Even Though I Don’t Miss You, and her most recent project, Mickey — as a body of writing that resists categorization, resists genre, and — to some extent — resists interpretation. They feel more like experiences than books, though one is always cognizant of the fact that they’re of course both. She’s a master of tonal management and a sentence-level stunner, packing big wallops of feeling in small sections of text. I envy the way she writes about the gestures both large and small that constitute a togetherness between two people; the ways in which even the most seemingly benign of these gestures can be extremely fraught and consequential, and the way the seemingly grand gestures can land wholly misperceived, or else unnoticed altogether. She writes that element, that dynamic of disconnect and contradiction in relationships, especially the relationship one has with oneself, unlike anyone else I’ve ever read, and I am forever in anticipation of what she puts out into the world next.

It was a pleasure to speak with Martin about her work — specifically her latest project, Mickey, a novel out now from Curbside Splendor Publishing.

Vincent Scarpa: I know that poets and fiction writers alike often have to face the presumption that the “I” in the work is the writer herself. Reading interviews with you, though, it appears you face that presumption more than most. It seems like this happens more often to women writers, for reasons I don’t claim to have a full understanding of but which I suspect have something to do with power relations. In your chapbook What I Want and What I Want, the disclaimer in the beginning reads, “Some of these pieces originally appeared as fragments of real life conversations, but don’t worry, I’m perfectly stable and particularly non-crazy. Ask almost anyone.” Which seemed to me a rebuke — or, at the very least, a tongue-in-cheek acknowledgment — of this presumption. It reminded me of something Grace Paley said about her character Faith, from whose perspective she wrote many stories. When asked if she was in fact Faith, Paley responded, “No, she works for me.” I wonder how all of this affects your writing, if at all, and if you’re setting out to blur the line between fact and fiction in your work, specifically with Mickey, your latest.

Chelsea Martin: I do get asked about this a lot, and I don’t understand why. Creating a character that feels real is a pretty standard thing to try to accomplish. The fact that I am creating characters that are not entirely different from myself also doesn’t seem original. And what if my narrator was based in part or entirely on myself? Is that… interesting? I mean… how would it be more or less interesting to a reader? That’s what I keep wondering when I’m asked about this.

I wouldn’t say I was setting out to blur the line between fact and fiction while writing Mickey. (Maybe I was doing that in my last book, Even Though I Don’t Miss You, by naming the protagonist Chelsea.) I think I would say it was closer to trying to “become” the narrator while writing her. I wanted it to feel like her book, and not a book that had been written about her. I assumed readers would believe that she was me, or at least a version of me, and I was fine with that because I think this closeness allows the reader to trust/believe in the character more. I also have my own sense of humor that I work into most of my work. So that probably takes away from the characters feeling different from one another/fuels the presumption that they are all me and not characters. I’m fine with that.

I also tend to write things that are personal and meaningful to me. Not personal as in these are exactly my experiences, but they are experiences I care about for one reason or another. There are a few real conversations I’ve had that ended up in the book. A few details and things that are based in reality or on people I know. I don’t think writing from your experiences is that unusual in fiction.

VS: One of the things I admire most about your writing is its distinctive syntax, a word I use a fair amount which I suppose really just means I like the way the sentences sound. They feel simultaneously organic and worked, scored. It’s hard to pick just one, but this one feels exemplary of what I’m getting at: “I keep telling myself that what I am going through now could be compared to a breakup, even though what I am going through is precisely a breakup.” (Or, as an alternate, “The music was almost as boring as the company.”) I sense, reading your work, the way I do reading someone like Jo Ann Beard or Mary Robison, a voice on the page that is unmistakably unique to the writer. Do you read your work aloud in drafting? Is there much tweaking from line to line in revision? Or do the sentences just come out this way — endearingly caustic, sometimes biting, sometimes quietly devastating. It’s a trademark of your work, I think: this mastery over tone at the level of the line.

CM: Thank you. No, I don’t read aloud while writing. I am obsessed with privacy in early stages of writing and would never risk anyone hearing me. Sometimes sentences come out pretty good the first time I write them, but mostly, yeah, there is a lot of tweaking.

VS: Reading the novel, I was reminded of a sentence from a Lydia Davis story in which she says, “As soon as there is less in a story, more of it must be in the center.” Mickey, like so much of your work, feels stripped not just of excess, but of certain kinds of narrative conventions altogether, thereby placing the voice and the observations it makes in the center, as the engine of the text. What attracts you to this kind of form, this modality of writing? Or is it inverted — is it the form and style that found you?

CM: Mickey is an emotional book, and short fragments are the most natural way to express an emotional mindset. I think the fragmentary style works well for capturing these disjointed or contradictory thoughts without having to address the disjointedness. Each thought gets its own page, space to be its own thing, without having to directly reflect all the other competing fragments.

That’s the value I see in the style as I see it now, having mostly finished writing it over a year ago. I don’t like to think a lot about why I’m making artistic choices while I’m working. One thing I learned in art school is that if you’re analyzing the meaning of your work as you’re making it, you’re going to find a lot of things to be critical of, and you’re going to want to change what you’re doing so that you’ll be able to talk about why you did it this certain way. I think art that has all these reasons for existing and being a certain way tends to be boring or flat. I like art that explores something that isn’t figured out yet, an exploration of a feeling that is trying to surface, however messy.

Original artwork by Chelsea Martin for Recommended Reading’s 200th issue.

VS: In many ways, Mickey seems to me to be a book about indecisiveness, about diametrical opposition of mood, thought, and action. I can imagine someone in a creative writing workshop saying that the narrator is “unlikable” or “difficult to understand” for this reason, and perhaps it’s because I’m either or both, but I find her all the more realistic precisely because of how mealy-mouthed she can be; precisely because of her dithering. She feels the most human to me, the most alive, when she’s pursuing something or someone she knows she doesn’t want, or won’t want for very long. Isn’t contradiction the most honest way to report one’s state? There’s a passage toward the beginning where the narrator seems to address this: “It shouldn’t be assumed that I want to be a sympathetic character in the story of my life, because that would imply that my actions are designed to convey something that other people might find attractive or relatable instead of my actions having their own meaning, separate from others’ interpretations.” I wonder if you could speak to this a bit.

CM: I didn’t intend for her to be likable, but I don’t find her unlikeable, either. I like her. I agree that she might seem difficult to understand, but I don’t know why that would take away from her likability. Most people are difficult to understand. I find myself difficult for me to understand. Part of what makes me interested in being alive is trying to understand why or how I make the choices I make. That’s what makes me interested in other people as well.

It seems like people really shy away from their own contradictions.

It seems like people really shy away from their own contradictions. They don’t want to admit they’re contradicting themselves, or they try to reframe things so that it seems like there are no contradictions. I think people do this so that they seem reliable or logical to other people, so that those people will trust them, but they are actually deceiving people, making themselves less trustworthy, and the whole situation becomes yet another human contradiction.

VS: The narrator makes a few observations about “evolutionary sense” and “evolutionary adaptations,” which is something that showed up a bit in Even Though I Don’t Miss You. I love these moments, because they seem to point to what I think of as the existential question in the margin of your work: For what are we equipped? And what happens when we endeavor to do that for which we have no instinct? If I’ve identified these interests correctly, or if I’ve come close enough, I’d love to hear you talk a bit about why you find these interests so generative in writing.

CM: It is strange to be a human. We are animals, but we don’t act like animals. We live in houses and we stare at screens all day and we express our personalities through clothing and we keep useless objects around for sentimental reasons and we spend most of our lives taking part in a system of currency that makes most people unhappy and we criticize other people for the way they do or do not do these things.

What happened in our evolutionary history that made us, as a people, so quick to get political in YouTube comment threads?

Evolution is an amusing context for these kinds of thoughts because our behavior doesn’t have any meaning when I think of us as animals, as a set of genes struggling to survive to the next generation. What happened in our evolutionary history that made us, as a people, so quick to get political in YouTube comment threads? Are people who closely follow the lives of the Kardashians going to be more or less likely to pass on their genes? And if closely following their lives isn’t going to have any effect on gene duplication, what is it for? What are the Kardashians even for?

Midweek Links: Literary Links from Around the Web (July 13th)

Six writers celebrate the genius of Proust

Five anthologies that are as good as any novel

Apparently Saddam Hussein has a Game of Thrones-style novel coming out soon

Rereading Infinite Jest in the age of addiction

On the history of spiritualism in American fiction and culture

Barnes & Noble will start selling self-published books in their physical stores

A look at what books get nominated for the Man Booker

E. B. White on why he wrote Charlotte’s Web

Celebrating the work of Colson Whitehead

We Are Persistence Runners by Jenniey Tallman

The carnivores are walking single file through the forest and the boars are digging up the potatoes. We fear strangers here, not wild animals. The lanky man is telling me to Run-Run-Run; I tell him I need water and rest, so he can piss off. He is our leader and I love him, but I get ornery when I cannot breathe.

Lilibet and Jorge are hoarding things. I have seen them. We are not to keep anything here but they have a collection. Lilibet has bird bones mostly, but also antlers, skulls, and butterflies. She pierces barberry spines through their gauzy bodies to keep them flat on a sheet of birch bark. It is one of the only rules we have: No Hoarding. Jorge has dug a pit for Lilibet and she stays back when we go hunting. Our leader has yet to find out. He will catch on soon enough.

We are all skinny here, long and tall, and we run barefoot. I can only run for a few miles before my breath starts catching. Shortly after that, I will pass out if I do not slow down and walk, but we are persistence runners and our leader has little tolerance for whatever ails me. He bullies, tells me to Push Harder, and recommends a change of diet. He says we are all weakening and he is disgusted.

Memories slip back in sleep and rush away with the light. I was a sex worker before. It was my livelihood and my passion. I was married. I had a dog, a cat, a child named Max. Some days I took the boy to work and hoped he wouldn’t sneak a peek around the curtain. At night my husband and I laughed at the prospect: What would Max think, to see that? How would we ever explain it?

We are slow here in the valley. Though our run is not fast, by running single file and never stopping we can outlast all sorts. The lions do not even try to get us now. They look at us as though we were a hedge and what does a lion care for a hedge? Sometimes they remember their own histories and grumble about us because they are not our rulers. They know better than to start an upheaval about it. Our leader will stomp them down quick. He runs the children hardest: through the forest every morning and some struggle to keep up. It is for the best. The sight of them running slow and quiet through the trees, leaping over rocks, fatigued but persistent, is enough to remind us.

In my previous life, I pushed carrots into women. That is what I did. I did not touch the women, did not kiss them, did not want them. I peeled the carrots carefully, shaped them just right, pushed them in gently, and maneuvered them just so. The women bent over holding onto the back of a chair. Relax for me, I’d say, breathe out. Okay, here we go. I was good at my job. All the women came to me.

“Orla! Run. Pace yourself. Breathe,” our leader orders me.

My cheeks grow red and my breath catches. There is a name for this weakness I cannot recall. Soon I will vomit and then pass out.

“Orla! Get up. Stop moping there on the ground. Stop being a crybaby.”

He never touches me when I fall. He never picks me up or offers comfort. Lilibet helps me though. She bandages my wrist, my ankle, my knee. She massages my shoulders, offers me water. Lilibet looks around cautiously before pulling a package out of the ornate leather pouch she keeps tied to her waist. She smiles at me as she gently peels many layers of fresh leaves from the parcel to reveal a snake skeleton, which she dangles up in the light.

“Why do you have that?” I whisper, avoiding eye contact.

She ignores me. “Look at all the tiny bones,” she says. “Isn’t it wonderful?”

I worry what will happen to Lilibet. She is not good at following the rules. “You’ll get in trouble,” I remind her quietly.

She holds the skeleton out to me, nodding for me to take it. It looks so delicate that I think it will fall apart; it is far stronger than I’d imagined. Hundreds of tiny curved bones repeat and narrow until they are nothing larger than a pine needle.

“It’s beautiful,” I tell her, testing the sharpness of the fangs against my finger.

“You should keep it,” she says. “I want you to have it.”

I wrap it carefully in the leaves and store it in a hole I dig beside my sleeping tree. At night, I lie under it and try to guess the name of our leader. Nothing seems to fit. There is a sound that’s just about right, but it’s hardly a name, just a noise. It is the noise his feet make when they thump along, running. Actually, it’s not the noise of his feet. It’s the noise between his feet hitting the ground and the silence that follows. Owing to this, I think of him as Pluh.

I have been in the valley for at least three years, long enough to have come to love this place but not so long I’ve forgotten my family. There are more women than men in our tribe, but it isn’t so easy to tell the difference, especially with the young. They speak to each other in a language barely recognizable, more of a low birdsong than words. When Max was a baby, our language was similar. We spent endless hours chirping and murmuring away at one another and when he was upset, the smallest croak was all it took to alert me to his needs. Some mothers spoke to their babies in words and sentences, urging them to try Mama, yes, and ouch, but I cherished our freedom from language. I turn my eyes from the children, terrified of seeing my son among them.

Men and women are not treated differently here. We do not have separate tasks and procreation is forbidden, as it is everywhere. The children come in ample numbers from the cities to be initiated into the tribe when they reach puberty. We run a pair of them across the river, to the farthest edge of the valley, and leave them there. They are to spend the night alone and then run back to the clearing at first light. Less than half ever return. I was never asked to complete the initiation and Lilibet would never have passed it without help. Pluh prefers the children to us. He says they are Stronger. More Skilled. Devoted.

Lilibet and Jorge arrived out of nowhere with the snow last year and I was sent by Pluh to run Lilibet and a girl he had collected from the cities across the river. He was testing me — testing my perseverance as well as my devotion. Lilibet was much older than most who come here and the girl she was paired with was too young. Leaving them in the snow was not a good idea and I gave them each a ration of jerky out of pity. As I was leaving I felt Lilibet’s eyes on me, pleading. I knew they would never make it back to the clearing. I gave them the rest of the jerky and healing plants I had in my pouch. Jorge snuck out three nights later and returned with Lilibet. The younger girl did not return.

Late at night, gathered around a fire with the other women, histories slip out. One was a lawyer, one was a housewife, one was an evangelical who went door-to-door handing out salvation. Lilibet is an artist and my only friend. Unlike the others here, we still speak of ourselves in the present tense. I don’t think Pluh was ever the leader he is now — most of the tribespeople miss their former selves, but Pluh wears his leadership as if it is his destiny.

Pluh encourages selective disregard for certain undesirable people. A person unfit to run for twenty miles or to climb a steep mountain, to go without food for three days and survive in the harshest of weather will perish and Pluh says it is for the best. He does not see color or gender or age. We should all be Equally Strong, he says. Some would call him a fair leader. I am drawn to his aloof nature, to his charismatic speeches, to his brilliant blue eyes. I wonder whether the other women feel the same.

The first time I passed out, I did not know what was happening. Pluh had been yelling at me to keep up, and though my lungs ached and my knees felt like rubber, I was trying. I stopped to cough and then I was on the ground, below our leader, who wore an expression of confusion — as though my inability to stay conscious was insulting. He soon pulled himself together to begin yelling, “Orla! Get up! What are you doing there on the ground?”

So, I got up. I walked a while. I sat down whenever my head began to feel clouded.

When we are on the hunt, we run alongside the animals. At first, the herd is in front of us. In time we single out a fatigued animal, which one of us will chase for hours. Each of us has two strong legs to run on; we carry water; we sweat through our whole bodies. The animals are helpless to our persistence. Pluh tells us if we do it right, if we run at a pace to make our bodies numb, we will enter a trance and forget where we are and what we are doing. Whenever I believe myself to be reaching this state, I always wake up to realize I have simply passed out again. This sounds funny, when I think of it. It is not really so funny. Our life is very serious. Running is serious. That I cannot run is a grave flaw.

The entire tribe follows the runner’s tracks to where the animal has been overtaken and together we make camp, skin the beast, and make a fire to smoke the meat. We empty the stomach and use it like a canteen. We like the metallic taste it leaves there.

The arrival of Jorge and Lilibet caused a disturbance within our tribe. Most of us wanted to turn them away. We held a council and were only one vote away from shunning them. It had been a hungry year and the winter was only beginning. Many women still resent Jorge’s presence among us. He is too affectionate with Lilibet, too singularly devoted. This takes away from his usefulness to the tribe. I agree with the women. He should learn to work for us all.

The carrots I used with the women were parboiled for sterility, peeled with a sterile peeler, and, of course, used only once. A client was free to take the carrot home if she liked. Cooked, they were delicious. I grew the carrots myself, in a special bed of muck and sand. I grew marigolds, ginger, and Echinacea in the same bed. I was very proud of my gardening skills.

I remember pushing a carrot into a tall woman. She is pretty in a quiet way. Her face shows a trace of makeup and her short hair is styled and dyed whitish-blonde. She is comfortable with me and does not make any noise until the end when she calls out a little, which startles me. When I am done, we joke with one another as she hands me the money: $100 for the first visit, and $50 thereafter. Her face is open and her eyes shine. I ask about her daughters; she has two young girls. I don’t wonder about her husband, who she says has become disinterested in sex. By now this is a familiar story; the woman and I joke that they are putting something in the water — perhaps some chemical to dampen the urge. But it is not really such a joke and we both know it.

I have never felt a carrot inside of me. It wasn’t necessary, and my husband did not suggest it. Which is not to say we never thought of it. Had we spoken about it? Yes, in the early days, we did. In the early days we spoke of many things that are now only distant memories.

Some mornings, before the sun has fully broken, I yield to the past. Certain moments return with such clarity I cannot even turn my head a little to the left, because my old black alarm clock might be sitting on the night-table. Soon I’ll hear my husband clattering dishes in the kitchen downstairs and Max yammering away about breakfast. I have to touch the dirt beneath me to remind myself of where I now lie, staring at the woven branches above. This is a dangerous game. Staying strong requires I do not remember too much. But I must remember the carrots to stay strong.

Lilibet and I go out gathering. We collect the ergot that infects the rye and use it for poisoning our arrowheads. We collect it for ourselves as well, to ingest around the fire at night. Only a little, though — too much will kill you, one way or the other. During the trials that took place, as our society fell apart, ergot was accused of causing “The Hysteria”: young girls, running wild through the streets, ripping off clothing, and grabbing anything in sight. So many girls were imprisoned for the crime of hyper-sexuality, only to wither in the camps. I had heard the stories of self-mutilation that went on there. But, until I saw it myself I did not believe them.

The girls who come to us now, the girls Pluh collects from the camps, they are not wild things. The cages had a way of taming them. Less than a month in the cages and they stopped seeking the light and instead hid in shadow. Two months and they stopped resisting the beatings, the degradations, they became grateful for the food scraps. But though the girls may be tame, they are not normal. Some had pulled nearly all the hair from their bodies, others bit themselves relentlessly, one girl held her breath until she passed out. We do our best to heal them all.

Lilibet was never in the cages. I do not think she and Jorge were from the cities at all; they didn’t have the stink of it on them. When Lilibet and I go out together, she finds things, little things for keeping. She crouches close to the ground to examine shells and colorful dead bugs. She picks them up and holds them to the light and usually puts them back but sometimes stuffs them into her pouch. I try not to notice. Sometimes her flouting of our rules is just too arrogant.

“You know you can’t take those things back,” I say to her. “What if he finds out?”

Lilibet looks down at a small snail shell she has cupped in her palm. For a moment I think she will tip her hand to allow the shell to fall back to the ground. Instead, she stares defiantly into my eyes and drops the shell into her pouch.

“Who do you think you are,” I yell, grabbing her pouch away and dumping its contents to the ground. “Taking all these things?”

Lilibet laughs. “Just one more,” she says, and calmly kneels to clean the mess I’ve made. She dusts each trinket, shell, and bone off before replacing it in her pouch.

The way she hums and turns her back to me reminds me of Max. He was always begging me for small items from the shops in town. Marbles with swirling colors, bouncy balls, stickers, and jawbreakers — which he said were too beautiful to eat. I’d have to bargain with him to get out of the store without a fight: one marble, no more. But this one is for you, he’d say, knowing it would win me over. Sometimes, everything reminds me of him.

A small animal overhead, angry at our presence, throws tree nuts down on us. I yell up at him, trying to forget about Max.

“Did you ever have any children?” I ask Lilibet.

“No,” she says, “I couldn’t get pregnant. Who could?” She laughs. “What about you?”

“No,” I lie. Then I change my mind. “Yes. I had a son. His name was Max. He was six when I last saw him.”

Lilibet puts her hand on mine. “What color was his hair?”

“Brown? No,” I shake my head, “it is blond, it was blond. Who knows; what is blond, anyway? It was soft.”

Lilibet sighs. I cannot look at her. The creature in the branches above throws a nut hard against my head. I stand quickly and roar up at the trees to scare him away.

Pluh tells us People Were Made For Running. It is our Natural State, he says. “We stand tall on strong knees. We are meant to run barefoot on a soft forest floor.” Pluh says that we are going back to an original state by living this lifestyle. I often wonder who he was before the cities went dark. He has little body hair and no facial hair at all. The hair on his head is long and matted together in ropes.

Natural. It is a word Pluh uses often. He believes if we do these things, if we hunt and gather and own nothing, we will remember somehow. He says someday it will just be there again — our humanity. I don’t know what I think, about humanity. Lately, I doubt it more and more. Strange men periodically come from the cities, demanding allegiance. Allegiance to what? They take our meat and search our bodies. When they find a girl here, a girl who should not be here, they tie her to a tree in the clearing and the lions get her at nightfall. I can still remember far enough back to when she would have been raped instead. Before the men lost their sexuality, and with that the women lost all hope of babies, I counseled girls in my clinic about how to be safe in a crowd at night, how to avoid unwanted pregnancy, how to report date rape. The strangers wait and watch, as if it is a show. It is an awful sound. Pluh blames himself. When he cries, I am convinced he was never one of them.

In the cities, I had an office just like any counselor. A waiting room, music, magazines, toys for children, a guest book. I dressed conservatively and conducted cursory interviews with clients beforehand. My forms were simple and to the point. There was no box for gender: I only served women. Occasionally a man would attempt to sneak in. It was just part of the job. They left when I walked briskly away into the other room, ordering them to get dressed. I did not know why they came to my office. We were all looking for answers; maybe they thought I had them. Maybe some memory of lust lured them to me.

On cold nights, the tribe gathers around a fire. I sit next to Pluh, hoping he will notice my closeness. He does not. I become agitated and move closer to him, pressing my arm against his side and feeling for warmth. He shifts away from me.

“Orla, are you feeling all right? Have you had too much ergot?” He asks this as if I were nothing but a careless girl.

Back to nature. Back to nature. It is his mantra, and yet, when it comes to the most natural thing of all he is as stunted as every man in the cities.

“Fine,” I shake my head. “Fine, I feel just fine. Yes, maybe I have had too much.”

I miss my husband. I miss my son. I miss touch and am so lonely I might as well be back in the cages. The other women must feel the same.

In early spring Lilibet and I go walking in a quiet section of forest by the river. Lilibet is talking about leaving, making off for another tribe.

“Are there other tribes?” I ask.

She shrugs at me. “Maybe. Before I came here, I heard things. A chanting sound. Maybe voices. Maybe birds.”

We walk toward a clearing near the river where the droughts have begun to move the baked plains into the forest. The ground we walk on is red and cracked, bumpy and dry, with no way of getting to the water. The water rushes wildly below, dirt red and crashing. We stand quietly, looking, listening.

“I’m pregnant.” Lilibet says.

“No,” I say quietly. Then, “No,” again, louder. “That isn’t possible, Lilibet, no.”

“I have been gaining,” she says, pulling up her shirt to show me the tightness of the strap around her waist.

The sight deflates me. It has been so long. Surely, they will believe she has powers. It simply doesn’t happen like this. “I can give you herbs,” I say. “Herbs and roots — to get rid of it. I know the ones to use.”

I notice a patch of wild carrot growing by a tree and point it out to Lilibet. “There. Look, just there.”

I stoop close to the plant and finger its strong white flowers, remembering the time I spent in the library as a young woman, learning everything I could about the carrot family, Umbelliferae. The Umbrella Family, as Max used to call it. A heaviness takes hold of my chest.

“Lilibet, I can make a tea from these seeds. We won’t have to worry about this thing.”

She looks at me and shakes her head no.

“You are planning to keep it?” I ask.

Lilibet says nothing.

I stand up and say we should get back.

She grabs my arm. “Orla? Will you tell on me?”

“Lilibet, we really have to get back now. The light is fading.”

“Not until you promise,” she says.

“We cannot stay here. The lions. We have to get back.”

“Why won’t you promise?”

The lions will not hunt our tribe, so long as we are in pairs — it is a tenuous arrangement that we all honor. But once the light goes down, it is best we are not out in the open. We have no way of knowing where missing people go. They may well be responsible.

“If they do not patrol tonight, we will pay tomorrow,” I remind her. She still will not budge.

“Not now,” she says. “I am too tired from the walking. I have to rest.”

So, we wait a while. As the light falls deeper I hear the presence of hungry beasts among us. Bugs begin to emerge from the cracks in the red earth. Pluh is nowhere near and Lilibet calls for Jorge who is too far away to hear.

“Lilibet, just walk. You can walk.”

“I can’t,” she says, “I am too tired.”

Lilibet is always too tired. Too tired to help skin the animals, too tired to gather ergot, too tired to run, too tired to do anything except collect useless trinkets. I consider leaving her there alone with her pretty little pouch. I have her climb onto my back and her weight on me convinces me that Pluh is right. The weak have no place in our tribe.

I carry her all the way to where Jorge has dug a pit and I drop her in and scowl at him. I can feel the heat in my face, and my chest is tightening; my own weakness angers me more.

“I will not do it again,” I say. “Next time I will leave her to the lions. You and Lilibet are on your own.”

Jorge does not like to hear this and pleads with me. I tell him to beg all he wants; it will change nothing. I look down at Jorge and he looks so pitiful.

“I came looking,” he says. “I worried, when it got dark. I didn’t know what to do.”

I had not considered Lilibet’s weight on him until then. The truth is uncomfortable. Here in the valley we make deals with the strong and devour the weak. We make sacrifices.

“Don’t worry,” I tell Jorge. “Everything will be fine.”

Because of the time Lilibet and I spent in the clearing, the lions hold a council and so does Pluh. When the lions begin to grumble angrily, our leader knows that something has happened and goes to everyone in the tribe to find out who started it.

When he comes to me, I choose my words carefully. “Well, if Lilibet had not been picking up rocks by the river, we would not have been late.”

“Why should she be picking up rocks?”

I set my gaze to the ground. “I wouldn’t know. You know how Lilibet is.”

“No, Orla, I don’t. How is Lilibet?”

“She is slow. She is careless.” I meet his eyes, “She is gaining.”

Pluh looks carefully at me and raises an eyebrow. I nod.

When Pluh finds Lilibet he is furious. He throws her collections to the ground, crushes her skeletons, and tears apart her butterflies. Lilibet is yelling for him to stop. It is no use — Pluh’s mind is made up. He goes to Lilibet and holds his hands on her stomach. She stares at me.

“Get rid of it.” He turns away.

Lilibet lets out an awful sound. She falls to her knees and grabs at his arm. Pluh shakes her off and turns to the group that has gathered around.

“She will get rid of THIS THING or she will leave,” Pluh announces.

Jorge is killed in the night. We do not speak of it.

Since the uproar, Pluh is becoming harder on all of us and I fear for my place in the tribe. I pass out while we are chasing antelope and he does not stand over me yelling: Orla! Orla, Get Up! What Is The Matter With You? I wait for him and I listen for him and I miss the sound of his voice but only hear the rhythm of his feet heading off without me: pluh, pluh, pluh.

If I do not make myself useful I will soon find myself outcast, again. In the cities, before I came into the tribe, my house was raided and my office torn apart. A chunk of my hair was pulled out and my scalp bled for days. A husband of one of my client’s led them to me. He had come to my office without even trying to disguise his gender and insisted that I show him what I did. His lips twisted into a crooked smile when I refused.

By then, nearly all the men had become suspicious of sex and pleasure. Even my own husband preferred almost anything to my touch. When I tried to initiate contact, he’d look at me as if I’d suggested smearing ourselves with feces. It is no wonder I was pushing carrots into women.

We all want to know why this happened, how we came to be this way. In time, it was not just me who thought chemicals were added to the water, but why we had been systematically poisoned was harder to understand. It may have been to counter the population explosion that nobody wanted to talk about, perhaps it was an experiment that got out of hand, some believed it may have been part of a more sinister plot to take away women’s innate power. We all resisted these theories. Some of us wondered if it is not so easily explained. Must everything have an answer? What mattered most was that those of us who saw it coming were ridiculed and imprisoned. By the time the full effects were felt — men not only lacking lust but virility too and women going insane from unfulfilled desires — we could do nothing about it. It was simply too late. We had to watch it all fall apart and hope that something would save us. For many of us now, Pluh is that hope.

The man with the crooked smile threw me against the wall of my office.

“Show me!” he yelled, and grabbed me around my neck. “Show me. Show me,” he chanted, banging my head into the wall. I was just about to lose consciousness when the door rang, and a client came in. He dropped me to the floor and left quickly. I knew he’d be back.

“Orla? Orla?” she asked me. “Orla? Are you all right?”

I sat stunned on the floor holding my neck while the woman said my name and tried to offer me water. Sometimes I can still feel those hands on my neck and when I run my finger gently along the surface of my skin, I can feel the raised scars where his fingers dug into me.

I went home directly and told my husband what had happened. I told him I was going to shut down the office and we agreed to leave the cities together. We should have left right then. We should have abandoned the cat and dog, packed Max into the car, and driven as fast as we could. But we delayed: it was late, the car’s tank wasn’t full, and we foolishly thought we should be well rested for whatever was to come. They came in the night. For months I curled up in my cage mourning the loss of my son, my husband, and my life. Then Pluh was there and he was walking me down a long snowy road away from the cages, away from hunger, away from grief.

The women all talk in hushed voices about the baby and about Lilibet. No one wants to see her go. They are too busy remembering their own pleasure and nurturing, and believe Lilibet is the answer they forgot to look for. Some of the women begin slicking oil into their hair and drawing intricate designs onto their bodies to entice the men, but it is the lions who notice. The air grows heavy with ergot and lust. Lilibet sits on the ground where Jorge was buried, refusing to eat or speak. The women want to believe in whatever this devotion represents. Her act of mourning is soon seen as an act of hope.

Pluh is pushing the children extraordinarily hard and we have lost four of them across the river. The carnivores sense the unrest and begin circling closer and closer to our camp. In time, we will be reduced to living in cardboard boxes on the sidewalks of a ruined city. I do not want to return to that life. Cannot return to those horrible people with their anger and hatred, with their quiet — and not so quiet — violence. I am a part of this tribe now and I will only fight to remain such, and who could blame me? After the loneliness I have known, how good it feels to say WE.

Our tribe requires strong leadership from people unafraid of sacrifice. We are two of a kind, Pluh and me. I go to him. I tell him what I can do for our tribe.

“I can stop what is surely coming,” I say.

“What are we to do?” he asks, and his voice does not sound so strong, and his eyes are not so brilliantly blue. “They will find out. They will come from the cities and destroy everything we’ve built here. She has to go; the baby has to go.”

“I understand,” I tell him. “A time will come for babies. This is not that time.”

I knew of women, before the cities went dark, women who talked to men in this way. I was never one of those women and am ashamed to find these cooing sounds coming from between my own lips. But it works. Pluh nods enthusiastically, glad for my understanding.

“One will only lead to more,” he says. “We will be back where we started. If Lilibet leaves the other women will never accept it. Jorge was nothing. She? Orla, how did this happen? She is not nothing.”

“I know.” I say, waiting for him to look me in the eye. “I can persuade Lilibet to do what is right. I can fix this.”

He jerks his head up and stares at me.

I hold his gaze and nod. “You will have to do something for me.” He listens while I tell him of my new role in our tribe. A role that will not require running.

I bring Lilibet a cup of tea laced with black cohosh and a double dose of ergot. At first she refuses to drink it, so I say, “Lilibet, the baby needs fluid.”

Lilibet is not a stupid girl, but she is weak. I look at her sitting in front of me, and say, “You know I can force you to drink this. I will not hesitate.”

She does not answer or look at me, but she takes the tea. The cramps come quickly; Lilibet was not so far along. I tend to her. I do not comfort her. It is not my place.

For the first time since Lilibet gave it to me, I unearth the buried snake skeleton. It is just where I left it. The leaves it is wrapped in crumble when I disturb them, though the skeleton has held up well. I take it to Lilibet, thinking she will be pleased to have something, since she lost everything else. Lilibet holds it carefully and presses her finger against one of the fangs.

“You are lucky you aren’t dead too,” I say to her.

“I’d rather.”

“If it happens again?” I gesture to her stomach, “You will get your wish. He’ll send you away. He never wanted to accept you into the tribe in the first place.”

Lilibet did not know this; her face shows it. I tell her she will either be eaten or lost out there. “If you are found by the strangers, they will tear you apart.”

She drops the skeleton to the ground and looks me in the eye. “You are not the most treacherous one,” she says, crushing the skeleton into the forest floor. “I left that girl by the river and I’d do it again. Jorge wanted to bring her. I wouldn’t let him. Don’t you forget that, Orla.”

When she is gone, I examine the bones. Her foot has bled onto them. I touch the blood to my lips, spit it out. I find one of the fangs and take it with me.

Pluh goes running into the cities and brings more and more children and girls back, an endless supply of recruits. He is not happy about the carrot garden I have started, but my skill with the women is a useful tool and he is now forced to recognize it. In time I will ask him for a child of my own — a daughter, an apprentice. Lilibet is learning to run. Her face is not so bright anymore, but none of our faces are.

When the lions start an uproar, it begins low and quiet and at first you think it might be your own stomach — you cannot tell where it comes from or if it is really there at all. Once they get going there is nothing but that sound: a fierce guttural vibration which rattles the very center of all things and rumbles off the trees, the water, the darkened buildings of the city in the distance. It booms off the sky itself. It is a beautiful and terrifying sound; a sound that says, I’m hungry and you are food. A sound to remind you of your place in the forest.