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The Girls Finds the Horror in Murder — and Being Fourteen

“Don’t read the comments” is the cardinal rule of the Internet, but if you make an exception for anything concerning Emma Cline, you’ll start to see a pattern. “Really, ANOTHER Manson book? Noooooo! Say it ain’t so!” one reader among many bemoans in the comments of Cline’s 2014 Paris Review essay about her correspondence with Rodney Bingenheimer, published long before her debut novel ever hit shelves.

But keen eyes would have caught in the section just before comments her short biographical note, which explains that Cline is working on a book inspired by the Manson murders — a book that eventually became 2016’s The Girls. And while it is true that The Girls is technically “another” Manson book, it is also liberally fictionalized — “Russell” replacing Charles, “Mitch” a stand-in for Dennis Wilson.

You might go as far as to consider that the protagonist Evie is, in some parallel universe, Cline herself, as the author confesses in her Paris Review piece that, “In the photographs I saw of the [Manson] girls… I recognized something of myself at thirteen, the same blip of longing in their eyes.”

But might all women find their teenage selves in that blip? It’s a question The Girls raises, as longing and desire are the twin forces ricocheting in Cline’s beast of a debut. Only clumsily might it be categorized as “Manson fiction,” though; more centrally, it is one of the darkest and most alluring coming-of-age novels to drop in a good while. A sharp-nosed publisher picked up on this too, as Cline stunned the literary world when The Girls sold for a $2 million advance almost two years ago.

Still, we must be patient with the grumpy internet commenter; in a cattish sort of way, one wants very, very badly to find something to tear down in The Girls. Her hefty advance aside, Cline is still somehow only 26 — a fact that has prompted corners of the internet to mutter, “She didn’t live through the 60s. So what does she really know? This all sounds like hype.” (This garnered a sharp reply: “Really? You really just sound envious.” “WHO WOULDN’T BE ENVIOUS; THIS IS COMPLETELY INSANE,” another commenter rightfully points out.)

So yes, there is a lot that makes one want to secretly see Cline fail — her age, her subject, her hype, her advance. Unfortunately for comment sections everywhere, The Girls will not give those seeking to eviscerate it much ammunition.

At the center of the story is Evie Boyd, who is doomed to be shipped off to boarding school at the end of the summer, has newly been scorned by her best friend, and is just beginning to understand the complicated power dynamics of sex. Being fourteen, Evie is at the height of that tender and treacherous age where one wants so badly to be wanted, and it doesn’t matter by whom.

We were like conspiracy theorists […] seeing portent and intention in every detail, wishing desperately that we mattered enough to be the object of planning and speculation. But they were just boys. Silly and young and straightforward; they weren’t hiding anything.

It is an observation made only after much reflection, as a present-day Evie recalls the final years of the 1960s and her brush with history. But later her words gain a double meaning as her fourteen-year-old self draws closer and closer to a new sort of family — a group of girls that live on a dirty farm in the hills of Northern California. On the ranch, “the girls” all but worship a mysterious, charismatic man named Russell, whose every word, gesture, and affection is cherished and hungered for. “Portent and intention in every detail,” indeed.

But even on the farm, far from the reaches of society, the girls cannot escape the suffocating yoke placed on women — the pressure to please. Even while Evie begins to navigate her budding independence, she is like putty in the hands of an older girl named Suzanne, whose affections are as brief and fleeting — and coveted — as Russell’s.

At times, The Girls can threaten to be oppressing in its single-minded vision of the world and of girlhood — Cline imbues a kind of helplessness in her characters that are caught in the web of an inescapable system. So too is it true that pop culture is saturated with stories about “dangerous” teen girls: Carrie, Jennifer’s Body, Heathers.

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

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

The true evil in The Girls is greater than any one individual, and so much more powerful than a single time or place. It doesn’t take living through the 1960s to understand that as a girl, you have a role you are expected to play and it is so very hard to deny that part when it is, at long last, your turn to step into the light:

That was part of being a girl — you were resigned to whatever feedback you’d get. If you got mad, you were crazy, and if you didn’t react, you were a bitch. The only thing you could do was smile from the corner they’d backed you into. Implicate yourself in the joke even if the joke was always on you.

The Girls revels in how deliriously intoxicating — and dangerous — it is to find oneself desired, and Cline is an enviable talent right out of the starting gate. Even the crankiest among us will be forced to admit that being jealous has never been quite this much of a pleasure.

Just Run with the Craziness: A Conversation with Steven Rowley, author of Lily and the Octopus

by Manuel Betancourt

Steven Rowley’s charming debut novel, Lily and the Octopus (Simon & Schuster, 2016), has a rather incongruous central image. Lily, Ted’s aging dachshund, he’s recently discovered, has an octopus on her head. What might this interloping cephalopod be doing on Lily’s head? “‘I don’t want to talk about it,’ she says, tucking her head to gnaw at an itch on her stomach.” Ted can sense, though, that the octopus is hungry and that he’s about to take his most devoted companion away from him. It’s a setup, Rowley will readily admit, that’s hard to pitch (he never did understand why literary agents didn’t immediately want to read his manuscript, which he’d half-jokingly referred to as a cross between Joan Didion’s The Year of Magical Thinking and Melville’s Moby Dick). At its heart, Lily and the Octopus is an all too rare portrait of grief over the loss of man’s best friend. That it’s also a riotous take on growing older as a gay man in Los Angeles as well as a thrilling adventure tale at sea, is a testament to Rowley’s imagination. Lest you think the fanciful conceit is treated with cloying preciousness, know that the first page features an all too serious conversation about which Ryan Ted and Lily fancy the most (he’s a Gosling man, whereas she’s a Reynolds gal).

Wanting to talk to the mind behind this touching story, I contacted Rowley, a Los Angeles based screenwriter-turned-novelist, and ended up arranging a bicoastal Skype meeting where we touched on Lily’s autobiographical origins, discussed almost going the self-publishing route, and dished on the novel’s unmissable gay sensibility.

Manuel Betancourt: So maybe we can start with the obvious autobiographical aspects of the novel. You had a dog named Lily that passed away and that serves as the inspiration behind the book.

Steven Rowley: Well, the official party line is, “any resemblance to people living or dead is purely coincidental.” But I don’t think there’s denying that there’s a lot of me in the narrator because there is. In fact, the last thing I added to the book was something my editor sort of insisted on: giving the narrator a name. He didn’t have a name. And I sort of liked him being sort of mysteriously between me and not-me. But they were like, “It’s very hard to write marketing copy when you’re writing, ‘A forty-something uh… man’ — it’s a little less interesting for someone to pick up.”

I did have a dog named Lily. She passed away from a brain tumor in 2013. I was really shocked and not prepared for how I was sidelined by the grief that I was feeling. I grew up with dogs, maybe six different dogs growing up. But this was a different relationship entirely. Sometimes, people who have dogs — or other animals; we don’t have to be so divided in this world between cats and dogs! — sometimes there’s one dog that leaves a special imprint on your soul and that was Lily for me. So, not really knowing what to do, I did sit down one day after about six months of feeling in a funk. I was not writing at all, I had been mostly screenwriting before this, and I did pretty much sat down and just wrote a few thoughts and some memories I had about our relationship together. And they formed a short story. I showed it to someone that I had just started dating. And he said, “This is exactly what you should be working on!” And added, “Don’t talk to me again until you write chapter two!”

It was a lot of fun to take off my screenwriter’s hat and just run with the craziness.

And I was just thinking, “Chapter two? But, it’s kind of done! If I write a chapter two, there’ll be a chapter three and a chapter four, five, six… where does it end?” But, you know, I was still trying to impress him so I wrote chapter two and it snowballed from there. I don’t even know why I wrote a short story or a novel, as opposed to trying to write a screenplay or something. But I did. It was a lot of fun to take off my screenwriter’s hat and just run with the craziness. It was very freeing. I was sort of stuck in screenwriting and really uninspired after a while. And this was really… Not only did it help me heal but it actually inspired my writing.

MB: You say the first chapter began as this short story, and in a way it does feel like an iron-tight conceit that gets stretched and teased out until, of course, it basically snaps us back into reality. There’s this crescendo as the fantasy aspects sort of take over the narrative. I was curious about the kinds of conversations you had with yourself about how much you could push that before reeling us back in.

SR: The challenge for me was letting go of the autobiographical constraints and really letting it be a novel. Letting it be a whole story of itself. I think I knew right from the beginning, if I’m gonna write more, it’s an octopus so the book is written in eight parts. That helped give it a little structure. And I gave each part an octopus theme [“Camouflage,” “Suction”] and it’s when I got halfway through the book — the fourth section is called “Ink” that’s about the tattoo and the Rorschach test and all that, the blinding her — that I gave myself the freedom to just… you know, it’s ink. The idea of ink gave me the permission to just write where the story wanted to go. And to let go. It’s the part where it verges past the realism and where the magical realism becomes more magical. And that was really freeing. Where I got to the point where I could write whatever the story wanted to be. My goal was always was for it to be some core emotional truths. It had to stay parallel to how I actually felt, even if the actions were not quite the same.

MB: In talking about that blurring of the fantasy and the realism, how does one come up with a voice for a dog? Lily has a specific way of talking and I wondered how hard that was to arrive at and sustain throughout the book.

SR: Well, she speaks in two ways in the books. One is that sort of punctuated way [“LOOK! AT! THIS! IT! IS! THE! MOST! AMAZING! THING! I’VE! EVER! SEEN!”]. And that was me trying to assign an English translation to her actual barking. Those are her actual contributions. And all of those words in lowercase quotation marks [“Tell me again about my mother.”], that’s the imagined conversation. That could take sort of any tone and it more matches Ted’s way of speaking, because of course he’s carrying both sides of the conversation in his head. I did try to walk a line between, what would she actually be saying and what kind of personality do we assign to our pets?

MB: I particularly enjoyed their pop culture conversations, especially their running joke on mimicking that one line from Elizabeth: The Golden Age — “I, too, can command the wind, sir! I have a hurricane in me that will strip Spain bare is you dare to try me!” — that line is so ingrained in my head and I haven’t even seen the film!

SR: I’ve never seen the movie either! But it left an impression. And the truth of the matter is I used to make myself laugh when I saw that with Lily because I had — me personally, this nutty-dog person — I would have a very high-pitched character voice that I would do for Lily that I would use when I was having conversations out loud. A sort of party trick. But then I would actually do it by myself. It just sort of became a thing. But bellowing as Elizabeth I in this high-pitched, squeaky, made-up dachshund voice was just something that amused me to no end.

What’s interesting is that to make the relationship with the dog as powerful as I wanted it to be, I stripped off all of the people out of the story. So Ted has one friend, he has one sibling, he has one parent, he has one therapist. In real life I come from a very big family, and I have many many friends, and an army of therapists. [laughs] I actually don’t have any therapists. So in terms of adding conversations to Lily, the character in the book has really isolated himself a little bit. That’s why there’s a lot of imagined conversations. Because he’s lonely.

MB: In talking of this larger world that gets pushed to the background, I’m going to read you one of my favorite lines and use it as a way of talking about this funny if bleak look at the dating situation in the West Coast: “Los Angeles is a Neverland of Lost Boys who preen and crow far too often and demonstrate substance far too seldom.”

SR: [laughs] You know, I’ve made my peace with Los Angeles. And there’s really wonderful people here — largely because most everyone is a transplant of some sort. I’m an East Coaster and a lot of my friends are East Coasters here. So you can find substance, but there is something very odd about LA. And it comes from the weather, a little bit. That I was surprised when I moved here. I had probably lived here for five years before it occurred to me, “Oh, winter never came!” I didn’t realize I was five years older. I thought it was this really long summer and life had slowed down. It’s sort of tied into that, I think: people don’t realize that time passes in quite the same way. It lends to people not really understanding that time is passing, that they are aging. And there’s this desire to keep up sameness, always. It can get frustrating at times.

MB: In talking about this idea of aging: that struck me as being at the heart of the novel. We meet Ted when he’s sort of realized that this decade has passed him by. I wanted to ask if you learnt anything in terms of coming to terms with that or whether that was something that you were bringing into the novel yourself.

It is a particularly brave thing that dog owners (or pet owners in general) do. We sort of sign up for a lifetime.

SR: That’s a good question. I’m trying to think about how to answer that. You know, I got Lily on my 30th birthday, just as it was in the book. And it was really weird… I think this is sort of why the impact of having this dog was so strong. I’d never gotten a dog when it was a puppy before. So to be responsible for something from the beginning of its life through the very end, and watching a whole lifetime take place, is not something that I had ever done before. It did make me realize how much I had grown up over the same amount of time. It is a particularly brave thing that dog owners (or pet owners in general) do. We sort of sign up for a lifetime. And of course, animal lifespans are not as long as ours, and we know we’re going to lose them and we sign up for this anyway. And we do grieve and hopefully move on — I’m watching another dog over just off-camera licking herself! — and then we sign up for it again. We get to the back of the line and say, “Let’s do it all over again.” I think what I learned was that I wasn’t as fragile, maybe, as I thought I was. I learnt about a certain toughness. And some of it comes from knowing that it’s okay to be emotionally vulnerable, too.

MB: I also know that you said you almost self-published the book. Can we talk a bit about the road to getting Lily and the Octopus published?

SR: I don’t even know when I started writing. And I think that maybe that’s a lesson right there. I was writing because I was in a bad place and I was doing what writers do sometimes which is just sit down and try to write your way out of it. Or write some sense to it. Even when I was thinking, “Okay, this is going to be a novel,” I still wasn’t writing it for anybody. I had no vision of it being out there. I was just writing it because it felt like it needed to be written. And when I finished it, I was proud of it as a piece of writing but I had no vision that it would connect with people the way that it does seem to be connecting with early readers. And that’s deeply humbling. But since I’d written a book I was like, well I don’t want to put it on the shelf, so I reached out to a number of literary agents. But it’s a weird book to pitch. I will say that reaching out to all these agents I was met with resounding… crickets. In their defense I don’t think I was really good, at the time, of saying what the book was really about. Because if you say, “Hey, do you want to read a book about a dog with an octopus on its head?” Well…

I was joking with a friend at the time: here in Hollywood everything is all “This meets this,” or “This meets that,” and I was like, “Well it’s sort of like a cross between Joan Didion’s The Year of Magical Thinking… and Moby Dick” — don’t ever describe your book that way! [laughs] So when no one would write back to me I was like, “Are you sure you don’t want to read my book? It’s like a cross between Didion and Melville!” So pretty quickly after that I said, you know, I’m proud of this writing. I want it out there. If only for a sense of self-pride and satisfaction.

So I decided to self-publish it. My boyfriend was like, “I totally support you doing this but let me give you this piece of advice: I would say, pay to have a freelance editor take a look at it. Hire somebody.” So I did that. I found someone in New York and she did a great job. I paid her and I never expected to hear from her again. There’s no reason I would have — our business transaction was done. And so I hired a typesetter. I got an ISBN number. I was researching printers, and how to convert it into an e-file. I was all ready to put it up on Amazon when I got a call from that freelance editor and she said, “I haven’t been able to stop thinking about your book! Do you mind if I send it to an editor friend that I have at Simon & Schuster?” I thought that no harm can come of that. “But whatever she might have on her desk,” she told me, “it’s not out of bounds for it to take her a month or two to get to you.” And in the back of my head I kept thinking, “Well in a month or two this is gonna be for sale on Amazon… but okay, we’ll see what happens.” So that was on a Friday and because of the time difference, I woke up Monday morning to my phone ringing and it was Simon & Schuster and it pretty much happened that quickly. Within a week we closed the deal. I didn’t even have a publishing agent so I had to get an agent. (Pro tip for aspiring writers out there: it’s very easy to get an agent if you have an offer for publication!)

MB: It almost sounds like a Cinderella-type story. That sort of fairy tale version of getting published that we keep being told never happens.

…I’m so grateful that the most personal thing that I’ve ever written is the one that is breaking through and connecting.

SR: Well, you know, I think everyone knows that this is not how it happens. There is a sort of a Cinderella story, except, well… I blanche at that a little bit — everyone who sees an “overnight success” doesn’t really see the work that went behind getting you to that point where you’re an overnight success. But there’s no denying that there’s a charmed story behind this book. I’m excited and I’m so grateful that the most personal thing that I’ve ever written is the one that is breaking through and connecting. That’s very gratifying.

Simon & Schuster is doing right by me and this book. It’s their lead summer title and there’s a huge first-printing. I don’t think it’s even sunk in what’s coming down the pipeline. Hopefully it doesn’t land with a thud.

The people on Goodreads — I have to admit that I’ve been reading their little reviews and stuff like that — it’s hard not to obsess. But there was one woman who wrote that everyone needs to know that this book is about an “f-bomb dropping gay!”: One star. I was just like, “Okay, Shirley or whatever-her-name-was from Nevada.” But the man and his dog literary trope is a very heterosexual one, which is weird because of the extra importance that gay people have in their relationship with their pets, in terms of becoming surrogate children, sometimes. And well, you know, it’s gay on the first page! You gotta be along for the ride.

MB: It is sort of refreshingly and aggressively gay on the first page — you start off talking about male celebs you like, and then, of course, the Blanchett lines. But you have to wonder if Shirley from Nevada…

I wanted to be unapologetically me right from the beginning.

SR: She probably never saw Elizabeth: The Golden Age! Cate Blanchett never made it to Pahrump, Nevada, where I imagine Shirley living. You know that was the thing. I wanted to be unapologetically me right from the beginning. When I had a conversation with Simon & Schuster, they asked, “Do you have any dealbreakers?” And I said, “Well, it needs to be an octopus! If you say, make it a hippopotamus or a giraffe, that’s not gonna work. It can’t be that.” And I told them that I didn’t want to de-gay the book, which I was a little bit afraid of. Because when they were talking about doing this in a major way, I was thinking that I didn’t know whether there was a big beach read from a big corporate publisher that has a gay male lead. Usually that would be relegated to a smaller imprint or a University Press, or something like that. I told them, I can’t de-gay the book. And they were fantastic about that. In fact, my editor almost teared up, she told me that she couldn’t believe that that could even enter my mind that they would do that. So we’ll see what happens.

Midweek Links: Literary Links from Around the Web (June 8th)

Looking for some interesting reading to get you through the week? Here are some literary links from around the web to check out:

On writerly jealousy: “I allow myself to think that I could have written their work, if only they hadn’t gotten there first.”

SF authors on the past and future of cyberpunk

How Hemingway inspired a generation of badly behaving authors

How many writers earn a living by writing books? Not very many…

Lit Hub launched a “Rotten Tomatoes for books” site

Essential William Gibson reads

New Republic wonders if literary fiction has a grade inflation problem

The secrets of book designers

The Toast on every modernist novel ever

Self-publishing has a major plagiarism problem

Storytelling is the Medicine: A Conversation with Max Porter, Author of Grief is the Thing with…

Max Porter’s Grief is the Thing with Feathers is one of those projects that makes you grateful for the people in publishing willing to take risks. It is a gorgeously weird project — almost clinically ballsy — a hybrid novel-in-verse with rotating points-of-view, quizzes, dreams, lots of white space, nonsense words, impossible sounds, two rambunctious boys, a grieving father, a dead mother, and a filthy, stinking, cruel, gentle, crass, hilarious, monstrous crow: a simultaneously ancient and postmodern trickster with origins in Ted Hughes’ poetry but with “thirty years hindsight.”

But it isn’t just Feathers’ form that walks a dodgy path. It’s a project about grief — a topic oft-explored in the literary world, a potential minefield of sentimentality and prose deadened with cliché. But Porter skips through the novel with unabashed pleasure, avoiding the obvious mines while setting off many of his own — some funny, some surprising, and some devastating.

Max Porter is the senior editor at Granta Books in the UK. Grief is a Thing with Feathers, his debut novel, was shortlisted the Guardian First Book Award. He answered my questions and talked about sentimentality, fanfiction, homage, and the pleasure of liminal space in May 2016.

[Ed. note — Read an excerpt from Grief is the Thing with Feathers on EL’s Recommended Reading.]

Carmen Machado: You use splintered form (fragmentation), shifting imagery (Crow’s changing size), and onomatopoeic sound throughout Feathers. Do you believe that grief is inherently fragmented? Distortive? Sonorous? Nonsensical? Lyrical?

Max Porter: I think it’s as individual as a thumbprint, and one’s expectations should be as bespoke as one’s behavior, nothing comparative, nothing marketed. Hence my disdain for sickly sweet notions of ‘moving on’. But yes, this particular grief needed a form equal to the shock of the trauma, the chaos of the boys’ imaginations, the disorder of the father’s emotional architecture. Shock is different, anyway. A book in which someone is slowly dying, preparing to die, even investigating the possibility of preparedness — that would have demanded something quite different I think.

But ultimately, to answer your question, yes. Fragmentary seemed the truest way of getting at what I wanted to get at. I’d even call it realistic, which is odd given the giant crow entering on page three. That switch from lush sentimentality to crushing domestic drudgery; from unfathomably deep depression to the wicked resilience of kid’s humor, those are the switches that the fragmentary form allowed that seemed to me to be truthful and recognizable, and possibly generative.

CM: So you think the trauma of the mother’s loss — the suddenness of it — shattered the novel, in a way? Can you talk more about that?

MP: The suddenness shattered the possibility of a smooth prose style, I think. We begin with a situation where the architecture of a family unit has been shockingly smashed, and therefore the architecture of conventional novelistic form needs to be comparably shattered. Otherwise a translation has already occurred, a neatening, an ordering, and that would already be a loss of truth, a loss of energy. I was also slightly borrowing from fables and fairy tales where there’s no prettying. There’s no three-hundred page contextual build-up to the death of the character, the character is dead on page one and everything begins from the pain, rather than building pain against an established normality.

CM: The title of your book comes from an Emily Dickinson poem, and the character of Crow comes from Ted Hughes’ Crow. What drew you to adapting and integrating Crow into Feathers? What is your relationship to the concept of fanfiction? Besides Crow, what would you consider the texts or authors that have been the most influential on this project?

MP: I wanted a heavy baggage-laden center to the triptych, and I wanted to say something about the possibility of affectionate critical homage. Dead poets being nudged, being read on our terms, being vandalized with a loving energy. I thought if I was going to bring a poetic obsession alive, it would be cruel and pointless to not give him his own identity. So fanfiction is a really helpful concept here. He isn’t Ted Hughes’ Crow because he has thirty years hindsight, he’s drunker on language, he takes himself a lot less seriously, he’s guiltier, sillier, he’s aware of the almost endless other Crows he can be, he can perform or channel or mock. He has much more in common with a spank-fetish Harry Potter in fanfiction than he does with any officially endorsed Harry Potter tie-in, and that’s partly my way of saying that poetry belongs to the reader, not to the canon, not to the textbooks.

Dickinson is the ultimate permission giver. I think she will hang over anything I do just because of the inexplicable, singular, genius of her language, and the vast complexity of her thinking about faith and love. But I don’t think I would ever interrogate her as I have done Hughes. She is too big, too special. Ecstatic admiration is enough.

Other important texts were the Russian Fairytales, various books about crows (real and mythical), David Jones, Basil Bunting, Anne Carson, Alice Oswald, Beckett. Always Beckett, but especially his translations, his other-people’s-poems.

CM: The brothers’ sections are mostly told in the plural first — a chorus of “we” — that sometimes break apart into “I.” (“I’m either brother.”) It made me think of Justin Torres’ We the Animals, and how trauma shapes and then shatters the “we.” Can you talk about the decision to include their voices in the narrative, and integrate them together as one?

MP: I loved that book and I ought to re-read it. I remember a scene in a lake, swimming, and leaves on the father’s back? But I’ve forgotten a lot. I remember arguing with myself and others about the ending of that book but now I can’t remember how it ends!

Have you read Agata Kristoff’s The Notebook? Holy shit. The kids in that destroyed me.

I thought for a long time about how to write a sibling relationship as a character, something fluid and changeable outside of two distinct identities.

The boys were my first aim. I thought for a long time about how to write a sibling relationship as a character, something fluid and changeable outside of two distinct identities. This comes from closeness with my brother, and a bit of gamesmanship between us as regards the unreliability of memory. We swapped things, borrowed things, took it in turns to be affected by certain things. And I think that the circumstances of our childhood (we were two brothers in an expanding and happy family of step-siblings) gave our brotherliness a solidity, almost like whatever other roles we had (son, husband, lover, uncle) we were brothers first and foremost. It was the identity against which all other functions were played out. I don’t know why I’m using the past-tense, it’s still happening.

CM: In Feathers, the widower struggles mightily with the contrast between the legitimate enormity of his grief and the cliché of it. (“Eugh, said Crow, you sound like a fridge magnet.”) Is this an in-text acknowledgement of your own concerns about writing about a topic like grieving, which can so easily veer into sentimentality? How do you go about walking this very fine line?

MP: Crow is devised precisely to check it, to interrogate it. He allows it, even encourages it, and then reminds them of its toxic potential. He recognizes it is a medicine these people will need, but also warns against it. It’s a tricky one for me, because I am deeply sentimental. I fall into it like it’s a warm bath, as a retreat from a cold, broken world, as a luxury, but I know it isn’t serving me well in the long-term. Perhaps it’s tied again to my dislike of the moving on concepts. Like, I should move on from missing my glorious wise bossy stubborn Welsh Grandmother? Fuck that, I want to wallow in the perfumed loveliness of her memory for as long as possible. I want that wallowing roped into how I live, work and parent. I’m being deliberately sentimental about her, putting her on a pedestal, being nostalgic, exploiting her memory to bolster my dislike of many things about the modern world and modern people, so be it. My crow would hop in here and say, “Sorry, sorry about this guy, he’s losing it.”

…there’s a lot of real shit written about grief under the shammy guise of self-help.

But yes, there’s a lot of real shit written about grief under the shammy guise of self-help. Most of it cliché, much of it is actively dangerous as it presupposes a state of normality, a fixedness, which is not only unattainable but also unhealthy. But there is also the need to investigate, to be exacting, to expose and investigate the emotional chaos of grief, and that has given us some incredible books, which we can all lean on or challenge or believe in. We can use them, if we want.

CM: You say “my crow.” If it’s not too personal to ask — what else would your crow say? What would he look like? Smell like? Sound like? How is he different than Feathers’ Crow? (Needless to say, I am also now thinking about my Crow.)

MP: Ah, this is me not being clear enough, I think. I meant the crow in my book. Who I’m keen to distinguish from Hughes’ Crow.

But to answer the question, he’s all my favorite things. He’s the friend who lets you say the unspeakable things, checks you when you go too far, pops your bubble when it needs popping. As a character he combines some of the things I most love about children (freshness of observation, eccentricity of outlook, relentless play, sudden dreadful rage, bum jokes) with things I most love about my friends and family (sarcasm, tenderness, mischief).

CM: There are many embedded narratives within Feathers: stories and lies being told by Crow, Dad, and the Boys alike. They seem to serve as load-bearing walls that lift the rest of the novel — reality, or something like it — aloft. Why tell a story with other stories? Why did you choose to make storytelling part of the language of grief?

Storytelling is the medicine.

MP: I love the idea of them as load-bearing walls. Storytelling is the medicine. It’s what he brings in his toolbox. I suppose because with the archetypes of myth, with the deftness of touch and speed of narrative stripped back to its cleanest form you’re offering an unlimited range of interpretive avenues. Upon these wipe-clean templates which have done us well for thousands of years and don’t seem to be going anywhere, you can kick open all the doors, sexual, moral, political. I hoped the fables in this book would act a bit like blank space titillation, an invitation in. That invitation can be quite simple (Boys will be boys; that’s a story I can relate to the terrible war-hungry men of this world and my love and fear for those boys) or quite complex (what are my own symbolic associations, what archetypes have I employed or manipulated in order to firm up my own narrative, justify my own character).

Also, it’s a love letter to freedom of reading, to moving loosely and joyously between forms. It’s a celebration of the electric tingle I get when I go from, say, Sendak to Solnit. I love them both, I like what happens when they’re both knocking about in my head. All the stories.

CM: In this novel, Crow occupies a porous, interstitial territory between real and not real. He is deeply physical, and also a metaphor, and also possibly a hallucination of grief. This liminality seems to sync up beautifully with the project’s hybrid nature. Can you talk a little about the process of deciding upon and creating its form? Do you think this story would be possible without its shape?

MP: Deciding on a triptych was the crucial thing. Three voices, three collage boxes, three wooden bowls. Any truth I was hoping to get down about childhood, mourning, birds, relies on this play between the three. I would have been completely immobilized without the musicality of that play. I don’t think I’m cut out for prolonged prose. I had some in there (the mother had a voice, which was prose) and it violated the whole thing. It robbed the boys and the Dad of the chance to create her in absentia, and it felt sludgy and familiar and disingenuous.

CM: So you used to have sections in the mother’s voice, in prose? Can you talk more about the process of writing and then discarding that material?

MP: She wrote about her dying. But as I was doing it, I felt the triptych being unbalanced. Like I was cooking a risotto and I put so much white wine in suddenly that all the other flavours that I’d been careful to create were drowned. (Wow, a risotto analogy. What’s happening to me?)

And then I was edited, very beautifully by Hannah [Griffiths] in the UK and Ethan [Nosowsky] in the US, and they were very good at pointing out moments where Mum came back, or slipped away, and how best to evenly (or unevenly) distribute her memory, her presence, her ghost, between the remaining characters.

I discarded a lot, because I felt the movement between voices was asking a lot, and if I had too much it would run thin, or be wearying for the reader. And removing Mum was painful, it hurt me, and I recognised this hurt was a generative thing, was related to what I was trying to get at, so I let it spill into the way the boys think about their parents.

CM: But back to liminality…

I’d hate to be dragged back from the liminal space you describe and told to join the real world. I don’t really believe in it.

MP: I’ll be honest though, the porous territory between real and not real (again, thanks!) is simply a place that interests me and calls to me. I believe it is the good place, the true place. A place where the wide plains of dream and fantasy can be explored without denying the body world of eating, fucking, shitting, paying bills, catching buses. I’m not going full-out Martian school, but I am fairly committed to writing about a space that is simultaneously lushly imaginary and instructively mundane. The chitchat of children; the wisdom of old women; the brutal truth-snap of fables, these things seem true and magic and necessary. I’d hate to be dragged back from the liminal space you describe and told to join the real world. I don’t really believe in it.

This Is Who She Was

By Anna Noyes 

There isn’t any good place to start. I have a picture. In the picture two women share a kitchen. Checkered floor. Wire basket of lemons. One of the women is Ruth. I am the other. The men, hers and mine, are not in the picture. Ruth squeezes lemon juice into a blue bowl. I remember her hands were covered with paper cuts. How could a person get so many paper cuts? I didn’t do anything when her hands started burning but watch her rinse them with cold water. In my mind Ruth will always be wincing in the kitchen, squeezing lemons. I will always be watching.

The picture was taken on the night before our trip to Florida. Jay, Ruth’s husband, snapped it with my camera. Their son Luke was my boyfriend. We’d only been together a few months but he’d invited me to join their family vacation. The vacation was a reunion so that Ruth could see her sisters.

“Get good sleep,” Jay said. Luke’s childhood bed was short; our feet hung off the end. Luke made too much noise when he pushed himself inside me. The fitted sheet came loose and bunched under my back. My necklace clasp kept snagging on the pilled polyester of the mattress.

Afterward Luke fell asleep with his fingers strumming between my legs and I moved his hand away, spread the sheet over my lap and touched myself. My finger circled a flickering pleasure, but the pleasure kept coming and going.

When I opened my eyes Luke’s eyes were open and on me. Play dead. My pulse kicked in my ears. The sheet was a coil of heat in my lap, and the room was laced with the smell of our dirty sleep, like strawberry yogurt, I’ve always thought, never sure if it was his smell or mine. He closed his eyes again, went back to snoring. Ruth was pacing in the hallway. I knew it was Ruth because of her soft footfalls.

Later when I got up to pee she was a dark shape standing by the window at the top of the staircase. I tried to turn her into something else, coats on a coat rack or a curtain, a trick of the eye, but then her weight shifted. I hurried into the bathroom.

There was a twinge when I went pee. A hook at the end. It almost felt good.

I’d been warned about this feeling before. Urinary Tract Infection. This was the latest in a long list of incidents in this place I couldn’t see or tend. When I put my fingers inside I felt nothing but a little pressure, like it wasn’t really me I was touching. My insides were a collection of happenings: the first, the cyst on my left ovary. I was eleven, sleeping over in a summer girl’s guest bedroom. I woke up at sunrise to a mouthful of spit, and stayed awake swallowing. That morning I went with her family to the Children’s Relay at the town pool. In the deep end, the lifeguard floated saltines on the surface of the water. We were meant to swim to the crackers before they dissolved, eat the pulpy mush, and race each other back to the shallows. At the finish line all cracker was to be swallowed; they would check our mouths. I threw up in the water. The gynecologist’s fingers were the first I had inside me, and then her jellied speculum.

A second cyst, so rare three interns were brought in to look. Before babies are male or female they have a duct, explained the doctor. For girls it disappears but when some vestige stays it forms a pouch. I had just read a book about a tall girl with internal male sex organs, undiscovered until a tractor accident at age fourteen. The book troubled me — the incubating clutch with its invisible hunger and hormones, and the doctor reaching inside like a magician performing a hat trick. No, nothing like that, said the doctor. You’re perfectly normal.

Left ovary, said the psychic. Be careful. You might get to keep it, but it’s probably best if you don’t.

Twins in your family? she said.

No.

All right, she said. But there will be twins.

Bacteria. Spreading from urethra to bladder, my first UTI. The feeling was unsettling, but my mind was on Ruth, waiting by the window in the shared silence of a house put to bed. I was afraid to open the bathroom door and when I did she was gone.

My two previous boyfriends’ mothers were also named Ruth. Luke’s Ruth stood out in the lineup; the others had gray wiry hair, thick socks over thick ankles, bucket-like wool hats that they crocheted themselves. Both walked a large number of dogs, cleaned counters with disinfectant wipes, and made large bland batches of scrambled eggs. Of course there were differences, but these were the ways in which they were the same.

Luke’s Ruth was tiny, powdered pale, with dark, tailored jackets and pants hemmed to expose a whittled inch of wrist or ankle. Her hair was a silky black tussle, and often she fixed it during conversation, her lips pursing bobby pins. I never saw her mouth without red lipstick. She wore her collarbones like jewelry.

Luke showed me postcards of her paintings, black ink swiped across huge blank canvases. Their home was full of art, but none of it was hers: sailboats on the lake, pink dabs for sailors’ faces; children kicking their feet at the end of a dock; a spaniel chasing down a flock of grouse.

Luke left me alone with Ruth in the hotel room while he and Jay played a game of tennis. She poured wine into two paper cups.

“I feel slightly deranged,” she said, holding her hand over her smile. There was a small gap between her front teeth. “Too many miles of yellow lines.” Our paper cups pressed together in a silent cheers. We sat on the bed and sipped.

I thought maybe I would tell her about my infection, but I didn’t. My discomfort stayed in the background during the first leg of the car ride. What I’d expected as we pulled onto the eight-hour stretch of highway was a repeat of my mother’s lore: fifteen, she had a UTI on a road trip to drop my aunt at a psychiatric hospital. My grandmother was behind the wheel. They were driving from Maine to Virginia with cold cloths tied around their foreheads, and Chinese fans in hand. My aunt was in the passenger seat, reeling from a nervous breakdown, afraid of the radio. My grandmother drove all day and night — she would not stop. My mother’s urge to pee was a plague, and the idea of relief was false, just a searing trickle. She crouched in the backseat and peed into a pickle jar. “Don’t come crying to me,” said my grandmother. “I know you’ve been sleeping around.”

“I think they left us here to bond,” said Ruth. “Either that or they’re trying to bond. One of us will. I think we have a good chance at beating them.”

But we were nervous together. The wax on my cup had softened by the second use. The paper warped beneath my fingers.

“What do you see in Luke?” she asked, just as our silence was starting to feel comfortable. I was starving, the wine slippery in my stomach.

I said he was generous, or open. Or sweet.

“I don’t have an answer,” I said at the end of my answer. “I just love him. I don’t know why.”

Another cup of wine.

“That’s right,” she said. “He is sweet. He’s young. We all love him.” She drank from the bottle and handed it to me. It was nearly empty. I put my mouth over the blot from her lipstick.

“I hope you take good care of each other.”

“We will,” I said. “We do.”

“Lovely ladies,” Jay called down the hallway. Ruth and I were punching numbers at the vending machine. Ruth kept punching DD instead of D7. She kicked the machine when it didn’t release her Hershey bar.

“Easy,” Jay said. “My wife the sugar junkie.” His smile was seamless porcelain. He scooped her up.

“I’m famished!” she yelled. She kicked at his thighs. He opened the door and threw her on the bed.

Luke was wearing a new white Sheraton Hotel visor, and so was Jay. I wanted to make a joking gesture toward the visor, and with the same look reprimand him for leaving me alone too long, but he wouldn’t look back at me. He spun the racket handle inside his palm and watched Ruth.

Jay pulled her feet into his lap and rubbed them.

“Be gentle. I broke it kicking the machine.” His hands cupped her foot. Between his fingers I could see her toes wiggling.

“Here, Mom,” said Luke. “Consolation prize.” He pulled another matching visor from a paper bag and fit it over her delicate twist of hair. Her ears stuck out, folded by the weight of the wide white brim.

“So good to me,” she said. When she tried to take it off the Velcro on the band snagged her hair. Her hands struggled at the back of her head.

“Let me,” Jay said, but she yanked free before he could help and tossed the visor into my lap. “We can share it.”

Strands of her hair hung from the Velcro, and I covered them with my hand.

Luke was a generous man, and a sweet man, but I do not remember much. There are still frames I can explore, with their own smells and sounds, and he prowls and paces my memory like its borders cage him.

We went back to our hotel room, adjacent to Ruth and Jay’s, after dinner.

Maybe this night we stood in the shower and soaped each other’s backs and chests, and when I looked at him I said in my head, here I am, here I am, here I am, but mostly I looked at my hand as it soaped and thought about some other thing, like when would he move aside so I could have the hot water.

Or the hotel sheets were shiny and smooth, my legs feeling wonderful because I’d shaved them and the sheets were satin.

Or that was the night he went to the bathroom and drank three glasses of water in a row, his Adam’s apple bobbing up and down in his throat, and said “Will you watch it around my mom?”

I said, “What do you mean?”

“Just take it easy around her.”

“What, I like her.”

“Like drinking. Drinking with her.”

“Why’d you never mention it before? If it worries you?”

“She never drank before,” he said.

Or that night was the first night on the trip I was nauseous. I ran for the bathroom in the middle of fighting. He crouched beside me while I dry heaved, brushed one strand of hair out of my face and then another, never grabbing the whole bunch.

Because I felt sick sex that night would be off the table, and maybe that’s why we curled into each other, the heat of him wrapped around me itchy as wool, my eyes on the shadowy hotel wall and its green and white stripes. We held hands and he worked his nails against my palm. The feeling gave me goose bumps at first, but his nails lost track of me, got stuck in their own rhythmic rut of scratching. And then he told me that Ruth had cancer, that she needed a hysterectomy. It did not look good, but she had time. Enough time to drink and paint all day, and to see her sisters.

Ruth didn’t talk during the drive the next day. I wiped the thread of drool that hung from Luke’s mouth. I listened to the brassy tap of Jay’s class ring on the wheel. In Georgia, we pulled toward a sign with a painted peach. I pretended to be asleep as Jay paid for a bushel. Ruth had her head tipped to the side as though she were also asleep, but when I glanced over I could see the whites of her eyes through her dark glasses.

“For you, my Georgia peach,” Jay said to her, passing the hard peaches around. Jay and I gnawed their woody white flesh, working them down to their pits. We threw the stones out the windows. Ruth nibbled hers, then peeled at its skin. Luke put his peach between us and it rolled onto the floor, where it would pinball around for days before lodging under the seat to fill the car with sweet ripening, then rotting.

The thruway to the beach house had ocean on either side. Luke woke and begged Jay to pull over. The sedan jittered onto the rumble strip. Luke pulled me out to the breezy breakdown lane.

He dashed across the street and his head dipped out of view below a mound of blown sand. I slid sideways down the plunging dune, but he was already yards ahead, tacking toward the water, so I stopped chasing and gathered his trail of stripped clothes. There were crabs everywhere, skittering in my peripheral vision, tiny curls of quicksand where they burrowed. He ran into the water and swells washed over him.

“Get in here!” he cried. My pain had returned and morphed into a diffuse throb in my pelvis, stretching awake now that we were out of the car.

I was in up to my ankles when Ruth came running from behind me, and teetered into the surf with a wild crashing and laughter, too recklessly, I worried, and she was too small, the white froth at her knees.

“Watch it, Mom!” Luke yelled. He was way out in the water, bobbing like a blond buoy. A wave was coming for her.

She was in up to her chest. It took me so long to run for her, through the water. I wrapped my arms around her waist and held tight. Her hands went up against the wall of the wave before it slammed down, pitching us apart. When I surfaced she was back in the shallows, still lipsticked, smiling loose and wide.

The beach house was crowded with aunts. They came at me with flabby arms to fold me into hugs. They had the pillowy busts of nurses. With her clothes slicked to her skin, Ruth looked like a little boy beside them, all ribs and hip bones and her tiny breasts. She flapped her collar, trying to hide the sheerness of her wet blouse. Jay squeezed her neck as though he were scruffing a kitten. My little mermaid, he called her. The aunts brought her a satin robe and she sat draped on the arm of the couch, her glass fogged by chilled white wine.

Ruth’s sisters arranged that Luke and I sleep in separate beds. I stayed on the first floor, on a pullout couch in front of a television and video console. On the days it rained Luke’s little cousins lay on my bed all afternoon. They left behind a dusting of sand, peeled sunburn, and chips that I’d shake from my sheet before sleeping.

Luke’s bedroom was on the fourth floor. He swam in the ocean, or he tossed a Frisbee, dashing back and forth on the hot sand. He was a fast runner, and he tanned, and grew a patchy beard while I watched from the shore, achy and overwarm, my body shaded by an umbrella and wrapped in a towel. Ruth sat with me and watched the swimmers and the water.

Luke and I had sex once, in the outdoor shower while the aunts and cousins beat each other with bright foam noodles in the pool. The shower stall walls were made out of splintery compressed woodchips. It smelled the way my gerbil’s cage used to smell. The water, from inside the sunning garden hose, was only warm for the first few moments. When I made a noise he put his hand over my mouth. Someone had left a hot water bottle full of sweet tea to brew on the edge of the bench inside the shower, and when I knocked the bench it flopped to the ground and wiggled there.

Lying on the couch reading with him end to end, I reached out and found his earlobe with my toes and held it. When I was little I used to thread my blanket between my toes so I could fall asleep.

We ate Cajun shrimps. Ruth sat across from me at the dinner table, picking apart her shrimp carefully while the rest of them got sauce all over their bibs.

The aunts cackled around us, stirring up bowls of different sour cream–based dips. A projector whirred overhead. Luke held me between his legs, and Jay took a picture. I still have that picture, his sunburned face next to my pallid face. Someone switched the lights off and a hazy old film began to play on the wall. The film was sped up, and the family was rushing around the campfire, storming into the lake, the teeter totter moving frantically up and down, and everywhere the aunts, as girls, in stripes and bobs, flashing smiles.

The movie was silent, but a chorus rose in the room each time a new girl stepped into the frame.

“That’s me!” one aunt shrieked, and another said, “No, that’s cousin Wanda, what an awful haircut. She was with us that summer. That’s that yellow bathing suit, remember?” Wanda, her face a blur, dashed from the camera into the lake and dove under, but before she could surface the camera swung away. The older girls scattered and the little girls hammed into the lens, and in the distance was dark-haired, smudge-eyed Ruth in a pastel-green shirt worn as a dress. First she was leaning against the trunk of a tree with big leaves and later I caught her behind the crowded campfire, dipping plates from a white stack into a basin of water.

“Where’s Ruth?” yelled the aunt who had mistaken herself for Wanda. “Ruth, do you see yourself?” But Ruth wasn’t sitting on the couch where she had been. I didn’t know where she had gone, and I didn’t say anything about recognizing her because maybe it wasn’t her after all, though I knew how she leaned into her hips and how her hair must have fallen then, limp and wavy, over one shoulder.

The film stuttered and the yellow tinge and quiet of the sixties clicked to a different reel with a downpour that sounded like a swarm of wasps. A man with a big red beard walked on-screen carrying a blond baby in a slicker, and the man was Jay, though his face was fatter, and the baby was Luke, probably two years old. Jay sat Luke on an inflatable raft inside a thin, swift stream of rainwater that ran through a flooded lawn. The baby laughed as the raft bounced on the water, away from the camera, and Ruth’s voice off-screen said, “Please, don’t hurt my baby, don’t hurt my baby.” Whoever was behind the camera had a low laugh that shook everything.

And then the scenes kept changing. In one there was cake, and dated poufs of hair in scrunchies, a woman with acid-washed jeans scooping ice cream. I realized I was going to be sick.

The upstairs hallway was carpeted and dark, and, away from the shrieking family, I could hear the waves coming in. Outside it was raining, harder and harder against the window. I put my hand to my mouth and bolted for the bathroom and there was Ruth, sloshing to cover herself in the tub.

“Oh my dear,” she said as I retched. “Oh my dear heart.”

The shrimp, I tried to say, but I couldn’t. I breathed and breathed the green smell of her bath’s steam. Ruth climbed from the tub to hold back my hair, her nails circling my shoulder blade. When I stood the knees of my jeans were wet. “Take my bathwater,” she said, toweling. “While it’s still hot.”

The pain nested inside my pelvis, an unrelenting ache, throbbing and tunneling. When I got into the warm water it felt better.

“You going to make it?” Her cheeks were swollen and stippled red. She was an ugly crier, like me.

“Yeah.”

“Splash your face,” she said. Her eyes were bright with mothering.

“I don’t know why I didn’t tell you before,” I said between splashes. “I knew I had a UTI. But then it went away.”

“Is there pain now?”

I nodded.

She sat on the edge of the tub, brushing off the sole of one foot and then the other before putting them in the water beside my legs. Scars webbed her knees and she caught me looking.

“When you’re pregnant, your center of gravity keeps changing. I didn’t know that, they don’t tell you that, unless you’re an athlete or something. I was working in the city, and the sidewalk between our apartment and my studio was uneven, and I tripped almost every day. All my tights had holes at the knees and Jay would dress my knees with Band-Aids. I was like an eight-year-old boy.”

I pictured Ruth at my age, hurrying in a trench coat and French twist, scabs under her tights, the sidewalk invisible beneath the dome of her belly. It was a comfort to picture her.

I found Luke under the blankets on my pullout bed, and climbed in with him to tell him about the UTI. I could feel that he hadn’t wiped the sand and crumbs from the sheet before getting under. He was sad, and he didn’t know why.

“I’m sorry you’re sick.” He put his head on my stomach.

“You stay,” Ruth said to Luke, as she bundled me in her scarf before we left for the hospital. It was ninety degrees out but my teeth chattered. “No offense, sweetie, but you’ll get in the way.” She kissed the top of his head.

Nothing went like it was supposed to. I was trying to be in love with Luke, but we were stranger and stranger, like the smoothly twirling top that begins to lurch and wobble in loose circles.

When the doctor saw me he said, “Are you sexually active?”

“Yes,” I said.

“Within the past week?”

“Yes.”

“With the same partner?”

“Well, there was that one wild night,” I said, and listened to my laugh trail off. “No, no, just the one partner.” Maybe it was the fever that made me joke. The only other man on the vacation was Jay. Ruth’s hands folded one way and then another, an arrangement in her lap. She had followed me from the waiting room without asking, and stayed quiet and small in the corner. I had thought maybe she would hold my hand.

The hospital rooms were overflowing, so after the doctor saw me they wheeled my gurney into the hall and Ruth trailed alongside, her arm linking my IV stand. My teeth were still chattering, and my whole body ached. They gave me antinausea medication and an IV of saline, which was cold as it flowed into my arm.

Somehow between the fever peaking, the doctor, and the gurney, I think, I’m not certain, that Ruth got drunk and sad. My hospital gown was open at the back. When I fell asleep, I turned onto my side, and woke in fear of the hallway’s drifters spying my underpants with no Ruth to guard me. I didn’t know where she’d gone. An old man with deflated nakedness under his gown shuffled past wailing, “Martha!” The IV leashing him tugged from his arm and he weaved untethered, trailing neat drops of blood into the hallway’s crowd.

Far away down the hall was Ruth, tiny inside her tailored clothes, their crisp lines wilting in the heat, purse strap slipping from her shoulder, her hair wispy and undone. Compared to her I felt moonfaced, wide-palmed, a sturdy girl, and a plain one with plain sadness. The doctor was walking toward me, and he reached me before Ruth did. His drawl made him sound amused. His big, soft hand patted mine. He drawled slow, but Ruth moved slow, and he fit it all in before she could reach me. Click, a key turned inside me as he mouthed about the baby, dumbly obvious as he spoke it aloud, growing inside me. The kidney infection and the baby, and the one could hurt the other, but we caught it in time, he said, and it was so early in my pregnancy that the risk was very low with a course of antibiotics.

“Don’t you worry. Your baby’ll be just fine,” he said, rushing elsewhere.

Ruth was so small in the breeze of her drunkenness. It swayed her.

“Can’t keep secrets in this place,” she said. Each syllable dragged. “I see big news all over your face. Let me up.”

She climbed onto my gurney. I tried to rearrange my expression but it was no use, I felt it telling things to Ruth. In hindsight I was feverish, but I knew then that she was like a psychic, seeing it all, my bumps and hollows and innards and growths. I told her I was pregnant.

She curled against me. Her sigh was warm and wet, sharp-smelling. Her head was a nice weight on my shoulder.

“Luke had a twin who died,” she said. “In utero. I was still pregnant with him for three more weeks, waiting for Luke to be born.”

I smoothed her hair, trailing my IV cord.

“I spoke to my belly like that baby was still alive. I couldn’t picture him gone inside me. I thought the sadness would kill me.” Everyone was fast, wheeling around us. No time to stare, they had spills to mop. “But then my beautiful Luke was born.”

A long time later she said, “Luke’s a wonderful boy, but he’s a baby. He’s not at all ready to be a dad.” It was advice, and I needed a woman’s advice. She put her hand into her purse and worked it around in there for a minute, two minutes, fishing for lipstick. She drew the red bow of her mouth perfectly, but capped the lipstick without screwing it back down. “Fuck,” she said. Our bodies made little noises on the sheath of tissue paper that lined the gurney.

I was supposed to crave pickles, and sauerkraut, and have the kind of husband who would pick up jars of these things at the corner store in the middle of the night, and stay up with me while I ate, rubbing my stomach with cool lotion. I was supposed to have long hair, and a wide, wise mouth, and to have read many more books, traveled, married with a flower garland and a backless silk dress, taught in tweed coats with elbow patches, spooned my husband and taken long baths with him, and I was supposed to have seen my own mother, frail and stooped, through many years of sickness with grace and patience, and be cauterized by the pain of losing her, and turned bright and still and steady inside, like a mother should be, and then I’d be a mother.

I’ve imagined Ruth and me together, in Maine, in a cabin by the bay. Ruth, pacing the floor in a painter’s shirt, like the one I took from my grandmother’s bureau after she died, long and pilled, stiff where the paint streaked. Ruth’s smile, too wide, a baby bouncing on her shoulder. Her clear steady voice rings through my vision, guides the baby into sleep.

I left Florida the next day. I told Luke I was too sick to stay, and this was true. They had me on all kinds of antibiotics. Ruth hugged me at the airport and she didn’t say anything, or look at me in any special kind of way, which made me wonder if it was possible she was so out of it at the hospital that she’d forgotten I was pregnant. Luke and I didn’t make the effort to see each other again that summer. Whatever we had slipped away easily, just a summer fling. Luke phoned a couple times but I didn’t return his calls, and I didn’t go back to school in the fall. Rumor never got around to Luke as it might have if I lived in a town that was closer to our college, but I don’t, and it didn’t.

The three women I knew who killed themselves were all grandmothers.

The first, a ketchup heiress who lived in a yellow mansion with a wraparound porch. On warm nights her grandchildren slept outside in hammocks.

The second, a middle school Spanish teacher. She ate homemade granola for breakfast, coiled a braid around her head, fell in love late in life, and married in the entryway of her barn. She was bustling and red cheeked, always dancing.

And Ruth, with her lipstick and elegant tapered fingers and the scars on her knees, who walked into the water.

I stayed at home and lay in bed in the room above my parents’ garage, waiting for my stomach to grow. It didn’t for the longest time, and then it was enormous.

My center of gravity changed every day, and I fell on the way to the post office. My mom dressed my bloody knee.

All winter I lay on my back and watched the dead spider with her egg sack and her scrap of web blowing between the panes in the storm window, and in the spring her front legs began to squirm and my two gentle girls were born.

Lit Hub Launches Book Marks, a “Rotten Tomatoes for Books”

Lit Hub has announced the launch of Book Marks, its “Rotten Tomatoes for books.” Like the popular movie website, Book Marks aggregates reviews from over 70 newspapers, websites, and magazines, and assigns each review a letter grade. Once a book has three or more reviews, Book Marks averages them into a single grade ranging from A to F. The site is divided into sections for fiction and non-fiction, most reviewed, best reviewed, and new books. Lit Hub staff are responsible for ascribing each review a letter grade, though critics are allowed to assign letter grades to their own reviews.

Lit Hub explained that “The grade is not meant to be an end, but an entry point” and a way to increase the readership of literary criticism and professional book reviews. All the original reviews are available and that Book Mark readers are encouraged to read them.

Right now Book Marks includes the prizewinning and notable books of 2016 and 2015; Lit Hub plans to add older books over time. Check out the whole site here.

What Writers Earn Money?

There’s probably nothing that interests writers more — yet is talked about publicly less — than money. While you can easily look up the salaries of actors on TV shows or the box office earnings of films, there’s no way to easily look up the sales of books. Even the industry standard tool — Neilsen BookScan — only reports an estimated 75% of physical book sales. The question of sales is especially opaque in the age of self-publishing and ebooks, as Amazon doesn’t release ebook data at all.

So, it’s no surprise that writers have been poring over the new Author Earnings report released this week.

Author Earnings, a website run by self-publishing evangelists Hugh Howey and someone named “Data Guy,” has been scouring Amazon bestseller lists and extrapolating the data to make claims about the state of publishing and self-publishing. At first, their reports contained some huge statistical errors and also overlooked a larger part of the market. But over time, they’ve expanded their reach and refined their methodology in order to give a pretty interesting look at how books are selling on Amazon. Their latest — oddly dubbed the “definitive million-title study of US author earnings” — “tall[ies] up precisely how many indie authors, Big Five authors, small/medium press authors, and Amazon-imprint authors are currently making enough from Amazon.com sales to land in a number of ‘tax brackets’.”

Curious how many authors are earning poverty wages or better?

4,600 authors [earn] $25,000 or above from their sales on Amazon.com. 40% of these are indie authors deriving at least half of their income from self-published titles, while 35% are Big Five authors deriving the majority of their income from Big Five-published titles, and 22% are authors who derive most of their income from titles published by small- or medium-sized traditional publishers.

So… not exactly a ton of writers are even scraping together poverty wages from writing.

How about writers who could be described as making a nice living off of books at $100,000 a year?According to this report, only 1,340 make the cut. For comparison’s sake, there are 1,696 NFL players in any given year drawing an average salary of $1.9 million.

There’s some other very interesting numbers in here, although they come with some gigantic caveats:

This Is Amazon Only

As the Author Earnings guys openly admit, this data is exclusive to Amazon. This means that a majority of the print market is probably ignored. By Author Earnings’ estimation, 50% of traditionally published book sales are on non-Amazon sources (independent bookstores, Barnes and Noble, library sales, etc.). So many more will be making each “tax bracket” when the other sales are included. Author Earnings admits this, and suggests moving all traditionally publishers up a “tax bracket” — i.e., instead of 1,300 or so traditionally published listed as making 50k or more the number would be closer to the 2,760 listed as making 25k. Things are mildly brighter than they initially appear.

Self-Publishing vs. Traditional Publishing

Author Earnings needs to be understood as a self-publishing championing site and while I believe the data they are reporting is as accurate as they can make it, the group tends to frame the data in whatever way is most damaging to traditional publishing and the most beneficial to self-publishing. For example, the report constantly emphasizes “unit sales” over gross sales, putting .99 cent ebooks on the same level as $25 hardcovers. The report also splits the “traditional publishing” numbers into three parts (Big 5, small/medium presses, and Amazon owned presses) while self-publishing of all stripes is lumped together. Just something to keep in mind when reading.

The Cost of Self-Publishing

At the core, the difference between self-publishing and traditional publishing is the difference between contracting out the non-writing aspects of selling a book to a publisher or to freelancers. In trad publishing, you get a much smaller royalty rate, but — if your publisher is good at least — you have a team of people doing copy-editing, marketing, cover design, and proofreading for you. In self-publishing, you keep all the money after Amazon’s fee yet you have to do all the other jobs yourself or pay for them. Most professional self-publishers pay freelance editors and designers, and pay for marketing the book.

So when Author Earnings says that there are over 3,000 authors earning $10,000 a year from self-publishing, the actual number is surely less. Author Earnings obviously has no way of knowing how much each author spent on marketing and other costs, but this is something to keep in mind when reading the numbers. Is the actual number 2,500 self-publishing authors? 2,000? 1,000? Who knows.

Misunderstanding of Traditional Publishing Payments

Another thing to keep in mind is that Author Earnings has no way of knowing how much money trad published authors are actually making, because most trad published authors do not have “daily earnings” in the way self-published authors do. Instead, authors are given an advance that — perhaps as much as 80% of the time — does not “earn out.” This means that the effective royalty rate is actually higher than whatever Author Earning reports. (And big name authors who earn out consistently can sometimes secure higher royalty rates.)

Contrary to popular belief — both among trad and self-published authors — a publisher can make money long before a book “earns out.” Publishers also will pay out advances they know won’t earn out as a way to increase the effective royalty rate. (Here’s a breakdown of Lena Dunham’s massive 3.6 million advance that explains how this works.) Also contrary to popular belief, an author who doesn’t earn out can still get another contract. As said, publishers make money off of a book before the book earns out.

Again, there is no way for the Author Earnings folks to get the data of what authors actually earn. It isn’t public. But readers should be aware that the traditional publishing numbers are skewed lower here than they are in reality.

So Who Is Earning Money?

The above caveats aside, here are some interesting data points from the report:

Self-published authors account for 1/4th of the Kindle market

ebook sales

While 24–30% (depending on how the “uncategorized” section breaks down) of the market isn’t quite the self-publishing revolution that is often claimed, it is a very large and influential part of the ebook market. Self-publishing is certainly here to stay.

Most authors making a living wage debuted more than 5 years ago:

The following chart is adjusted to account for the lack of non-Amazon sales in the data.

sales chart

While this probably isn’t a surprise, the report shows that most authors who are earning an actual living wage have been in the game for more than 5 years. This is especially true of traditional publishing, which has very few authors earning a living wage who debuted in the last three years.

Are the numbers in the report encouraging or depressing? Well, that depends on your point of view. The Author Earnings authors are very enthusiastic: “We live in exciting times. Today it’s possible to be a full-time professional author, quietly earning $50,000+ a year — even six figures a year — without ever sending a query letter to anyone.”

Others will likely find it pretty depressing that in the entire industry of book publishing, where over a million books are published a year, a mere 2,500 authors can be found making median US wage.

The Art of Unpredictable & Unclassifiable Literature

A word from the editors at Electric Literature & FSG Originals: This week marks the release of Book 2 — Autumn Princess, Dragon Child (FSG Originals) — in the The Tale of Shikanoko, the epic, mythical, mind-bending series from Lian Hearn (the pen name of English author Gillian Rubinstein). Hearn’s style, like her historical fantasy world-building, defies all easy description or easy understanding, so we asked four writers — each a practitioner of notably imaginative, genre-busting fiction — to sit down with Hearn’s four-volume epic of medieval Japan to try to figure out what’s at work in Hearn’s unusual storytelling. Sean McDonald, Hearn’s publisher at FSG Originals, also jumped in from time to time. And, in a final twist that was too good to forego, we asked the author herself — Lian Hearn — to read their conversation and tell us how she did it, and how these writers might have shown her something unexpected about her own writing.

Got all that? Is your head spinning?

Good, you’re almost ready for The Tales of Shikanoko.

But first, the participants:

Toby Barlow is the author of Sharp Teeth, a werewolf novel in verse set in contemporary Los Angeles, and Babayaga, a post-war Paris caper about witches, spies, and a detective turned into a flea.

Nicola Griffith is the author of six acclaimed novels, most recently Hild, a novel about St. Hilda of Whitby set in seventh-century England.

Kelly Luce is the author of Three Scenarios in which Hana Sasaki Grows a Tail, an avowedly imaginative collection of stories set in Japan, and a novel, Pull Me Under, forthcoming from FSG this fall; you can read an earlier conversation she had with Lian Hearn here.

Robin Sloan is the author of Mr. Penumbra’s 24-Hour Bookstore, a novel about a very curious man and his very curious San Francisco store that holds more books — including at least its fair share of multi-volume epics — and more secrets than seems plausible. None of the writers had read all four volumes of The Tales of Shikanoko at the time of this conversation.

Lian Hearn, of course, had read them all, more than a few times.

With that, we’re off…

Toby Barlow: I heard an anecdote once that, back in the 19th century, when Antoine Galland started publishing his volumes of translations of Arabian Nights, Parisian mobs would show up outside his apartment demanding he release the next stories. That’s how I feel about The Tale of Shikanoko. Somehow, the way it’s written, with the magic so organic and natural and the adventure so quick and sudden, it canters along and makes me feel almost childish in my joy. The book seems to work like a boxer’s jabs.

Also, it feels paradoxically totally cinematic and utterly unfilmable, which is my favorite kind of book, and it’s something I try to write myself, so that you hold the book not as a dry run for a yet-to-be-made motion picture, but the thing in itself. And you see it in your mind’s eye in a way that Hollywood would only botch if they tried. Though in this particular case, I would like to see them try.

Nicola Griffith: I was thinking about what Toby said about Shikanoko being cinematic. The books (well, book; I’ve only read the first one so far) remind me of something and I was trying to figure out what, and finally, this morning I grabbed the slippery little memory by the ankle before it could dive away again: Shikanoko reminds me of Monkey, a Japanese-made series from Chinese legend dubbed into English and shown by the BBC from 1979 (I think) to 1980 or 1981. Obviously my memories of it are hazy but I remember my amazement and delight in the sheer strangeness of the story about a monkey born from a stone egg who whizzed about on a magic-carpet-like cloud confronting demons and dragons and demi-gods… Anything could happen, and frequently did. I watched it because I honestly couldn’t predict what would happen.

That’s how I feel about Shikanoko: it’s not predictable. At all. It doesn’t follow Western storytelling sensibilities, certainly not literary ones. Kelley, my wife, has been writing screenplays for the last few years (watch out for OtherLife which we hope will premier later this year) so we’ve spent a lot of time over beer talking about film story vs prose story. Immersive fiction (the kind of thing I like) leaves a lot of emotional and metaphorical space for the reader to put themselves in the head, heart, and body of the protagonist. At the risk of getting loooong here, what I set out to do with Hild was for the reader to experience the seventh century, to see, smell, hear, taste and feel what Hild does; to gradually adopt her mindset and worldview; to think as she does, to learn her lessons, feel her joy — to be her, just for a little while. My goal was to run my software on the reader’s hardware: for them to recreate Hild inside themselves and know, not just think but know, what the early seventh-century was like. To do that I used very specific word choice and sentence structure to trigger not only the reader’s mirror neurons but something called embodied cognition.

There’s now a reasonable amount of experimental data (though I admit I don’t know how often it’s been replicated and confirmed) to indicate that certain written words can trigger the memory of scent and touch. For example, if you write the word ‘lavender’ a functional MRI will show the areas of the brain relating to smell lighting up. Similarly, if you use the word ‘leathery’ instead of ‘hard’ or ‘tough’ it stimulates your brain in the same way that actually touching leather does. So if you describe a character running a discarded leather glove drenched in lavender scent under her nose, the reader can actually feel the cool-warm of the leather against her skin, hear the faint creak of the leather, smell that lavender: we are there.

You can’t really do that with film. With film it’s all about what people say and do, not what they feel and think. Everything is built for you. In a novel you don’t have to describe everything; in a film you do. And there’s music and other audio effects to help.

I think Shikanoko would make a brilliant blueprint for collaboration in another medium, whether we’re talking film, animated TV series, graphic novels, or opera (it’s definitely operatic!). Hearn tells us what people say, she tells us what they think and why they think it, she describes the setting. It’s all there. And anything can happen — and frequently does. And those things are not small: death, demons, destruction, betrayal…

Kelly Luce: As to Toby’s “paradoxically totally cinematic and utterly unfilmable” — YES.

The world of the Shikanoko books is so richly imagined. The setting itself is novel to us, it is home to the unexpected, and yet it is populated with characters whose motivations and backstories strike an emotional chord. As readers, we then get to sympathize with these familiar feelings in an unfamiliar place. There’s a tension there between world and emotion, a safe and fruitful space. In that space, maybe, is where wonder and play and fun are created — the Fun Primordial Soup.

My background’s in cognitive science, so Nicola, what you said about those studies in which words trigger sensory experiences resonated with how I write in general. I think a lot about how words and sentences are translated by the reader’s brain into something not quite visual, like a film, but a thing that’s…super-sensory. John Gardner’s “vivid and continuous dream.” Because reading is a creative act — it’s active, not passive. The reader makes their own waking dream out of the author’s sentences. And as with a dream, it’s usually the feeling that sticks around, not the technical details (at least for me — I’m terrible at remembering plot and other specifics of books I read even just a couple weeks ago. What doesn’t leave, though, is how the book made me feel.) When the imagination is engaged in this way, it really does become fun.

Works that are aggressively imaginative are looked upon suspiciously: are they — gasp — genre? Are they for children?

It seems like maybe we as a culture are suspicious of play. It’s often overlooked — or devalued — when it comes to literary, or artistic, experiences in general. This for me is connected to imagination, another word that’s treated oddly. Works that are aggressively imaginative are looked upon suspiciously: are they — gasp — genre? Are they for children? (When people hear that my story collection has a story about a toaster that can predict the way a person’s going to die, for example, that is almost always their first question: oh, is it a children’s book? It’s fantasy, right?)

I agree; these books would make for an amazing opera!

Robin Sloan: One of the books I’ve been interleaving with my reading of the Shikanoko saga is Philip Pullman’s new translation of the Brothers Grimm. In one of his story notes, he cites a poet’s characterization of the ideal fairy tale narrator’s voice: “serene, anonymous.”

I thought of Lian Hearn when I read that, because in addition to the qualities you all have enumerated — the joyful canter, the waking dream — I think these books are delivered in a voice that is (a) a huge part of their pleasure, and also (b) totally beyond me. That serenity; that straightforwardness (even in its depiction of the very strange); that confidence!

No matter how weird the proceedings get in Shikanoko, the narration remains totally matter-of-fact — like a great dinner-table storyteller…

And Nicola, I think the voice plays into the unpredictability you identified; it’s what makes it work. No matter how weird the proceedings get in Shikanoko, the narration remains totally matter-of-fact, like a great dinner-table storyteller keeping a perfectly straight face while everyone around them melting down with suspense and/or laughter. Or like a standup comic! Somehow, the restraint enhances the pleasure, and furthermore, it makes wilder twists possible and plausible, in a way that a looser voice, insisting “You won’t believe what happened next,” precisely fails to do.

As a reader, I’m delighted by this voice, and as a writer I am covetous of it. So, allow me to pose a question to the wise demons gathered around this campfire in the Darkwood: to the degree you yourselves have employed this kind of voice… what does the down-and-dirty craft of it look like? Do you have to spend fifteen minutes in quiet repose before writing? Do you have to binge on fairy tales, books of myth? Does it all happen in the editing — the rigorous redaction of anything un-serene, non-anonymous? How does one narrate like Lian Hearn?

Toby Barlow: It would be interesting to discover how much Lian Hearn works out the details of the story in advance, not just the overall arc, which feels nicely premeditated with that sense of unfolding destiny we want and expect from epics, but also the nuances of the magic. Is there a lexicon there?

I tend to research in bursts, filling up the attic of my mind with potential — patterns of fabrics, anatomy of insects, various boat and carriage designs — and then let them fall into my writing as I go. Hearn feels much more comprehensive in her knowledge, I feel like she could knock out her own encyclopedic Silmarillion and fill out the entire history of the map. My guess is that this helps her write so sparingly, she can leave a lot out and still we sense some of the substance of what is missing, what the author is holding back. We know we’re in a world.

As for Robin’s question about voice or tone, I can only say that for me the story only begins when the tone arrives. I have too many narratives of what might bad or weird things might happen to a host of unlucky sorts, but until the rhythm or voice of the arrives, it’s like facing a forest without a path. I can’t force it, it comes of its own accord. That part is the inspiration. The rest is just screwing around with pieces on the game board.

Sean McDonald: This doesn’t exactly address Toby’s question, but Lian Hearn does say a bit about her process here. And elsewhere she’s said that she immerses herself very deeply in research and then tries to leave it behind while writing. This also addresses some of her world-building, especially towards the end.

Lian Hearn: Is there a specific thing I do? I suppose I do try to recreate the joy in reading I had as a child. I like to write early in the day, by hand, shutting out the world and my own inner critics. Like Nicola I start with a moment, visual, atmospheric, where a character exists in a world it’s up to me to discover. Somehow I know that character, and all the others that appear as I write.

I am often very surprised by what happens. I let almost everything in.

Maybe I’ll have some key scenes, and some images, that I know have to be fitted in though I don’t know where. Once a story is underway, it fuels itself, suggesting new ideas, new paths to follow. I love this first draft stage as I am in the “making up story” mindset that entertained and consoled me as a child and teenager. It is indeed the fun primordial soup. It is very rough, very free. I am often very surprised by what happens. I let almost everything in. I watch it unfold as if I am watching a movie and write it down. I realized, thanks to a very diligent proofreader this time round, that I instinctively use the where a would be more usual. It’s because I am seeing the scene: the boy who is right here, the palanquin that is by the steps. Later I’ll carefully work it all into a structure using timelines, charts, maps and so on, adding details and fleshing it all out.

A large part of it is my response to the history, art and culture of Japan. I did immerse myself in the warrior tales of medieval Japan, and folk and ghost tales, and found inspiration in Eastern forms of storytelling. I love Journey to the West, the origin of the Monkey stories. There is an almost visceral pleasure for me in recalling and recreating the way I felt in a Japanese landscape, a temple, a garden. And I think the Japanese aesthetic of ma — the space between things — influences my writing and gives it its sparseness and simplicity.

An article appeared earlier this year by Marie Mutsuki Mockett which refers to Hayao Kawai’s The Japanese Psyche. I read this book years ago, and have it on my shelf. I was reminded to reread it. Kawai says the Japanese fairy tale tells us that the world is beautiful, and that beauty is complete only if we accept the existence of death. Kawai also points out how naturally sex appears in Japanese myths.

Mockett also says in speaking of her her childhood experience of Japanese culture, both new and traditional: “Innocent people suffered as a result of living in a perilous if vibrant world.” The importance of the natural world and its beauty and danger is huge in Shikanoko.

Nicola Griffith: Robin asked about voice — how we write in the matter-of-fact narrator’s voice Lian Hearn uses. I don’t think I do. But I had to drive myself half-mad figuring out what voice I do use (sort of like trying to wrap my head around the notion of infinity as a pre-teen).

I’m with Toby on this: the voice comes with the story. Or maybe the story comes with the voice. But both voice and story begin, for me, with a moment: visual and atmospheric, a character in her place (most, though not all, of my fiction is from the perspective of a woman or girl) on the cusp of change.

First-person voice is easy to find, and it’s fast, but I find it limiting; it’s a challenge to write about anything the narrator isn’t involved in; it narrows our (me the writer, me the reader) window on the world. I sometimes feel a wee bit trapped when I write first person. It gives me enormous pleasure in other ways, though: it’s like acting, or singing: really going there, really swimming in a character.

The voice I’m working with now is variation on third person. I’m aiming for a variable focal length: zoom in on a tiny detail, pull out to panoramic view, and — very occasionally — drop into someone else’s head. But I always, always have my main character on the page. It’s versatile, but it can be hellish to control. (But, eh, that’s what rewriting is for.)

When I feel as though I’m flying, if I want to laugh like a maniac or have no idea where that phrase or that character came from, then I’m on the right path.

Which leads to me to the essential paradox of writing: It’s not about restraint, it’s about slipping the leash within carefully defined parameters. It’s running wild and free inside a walled estate. So I’ve learnt to build iron rules and then forget them, hurl myself about inside them, fly from side to side, plunge and soar, leap and dig. I can feel it happen at some point in writing a novel, that falling-off of restraint, and I worry until it does. When I feel as though I’m flying, if I want to laugh like a maniac or have no idea where that phrase or that character came from, then I’m on the right path.

To do that, of course, I have to know my stuff — whether it’s 21st-century bioremediation, or North American myth and legend, or 7th-century textile production. Like Hearn I prefer to do the research then forget it and dive into the people and place and see what happens. Having said that, I always know where I’m going, the end-point. Day to day, though, I don’t know what will happen or who will appear or what that will mean.

Finally, Kelly raised the spectre of genre. To me genre is just a handy tool, in the same way metaphor or setting or character or POV is. I’ll read anything as long as it’s good. Why wouldn’t I use anything, too? I find this insistence on genre old-fashioned and pointless. So, for example, my first novel Ammonite was described as “a radical re-examination of gender,” “a biological what-if story,” and “sex-romp on girlie planet.” Okay, I can see all that, maybe. But to me it’s a novel set in the far-future, just as Hild is a novel set 1400 years ago. Why does it have to be categorized any more than that?

How will Hearn’s books be labeled, do you think? And why?

Toby Barlow: (I just want to add that I watched Purple Rain again last night and I realized that Prince was Shikanoko.)

Robin Sloan: (This statement is amazing and must make it into the final edited thing.)

Lian Hearn: I hadn’t realized Shikanoko is Prince!

But I agree with you all, voice is so important. Even though the narration is all third person, I try to vary it slightly according to the POV. I began Shikanoko with Aki’s story, chapter 15 in Book 1, and then I realized I had started too early and went back a few years to set the scene with Shikanoko and Kiyoyori. Medieval tales were spoken and sung, usually by blind biwa players, or in the case of the Tale of the Soga Brothers, by Buddhist nuns, and I suppose I was partly trying to emulate that very rhythmic narrative voice, with its underlying Buddhist sense of sorrow at the transience of life and the stubbornness of human nature, and also to suggest that the novel is a translation (from another language outside of time, yes!) — I sometimes use idioms translated literally to give this effect.

Robin Sloan: Nicola asked, How will Hearn’s books be labeled, do you think?” and wondering about this makes me appreciate the bookstores with nonstandard and/or opinionated shelving schemes. “Underrated Writers.” “Talking Animals.” “Badasses.” In such a bookstore, I can imagine a shelf for “Books That Read As Though Translated from Another Language From Outside of Time.” That’s obviously where the Shikanoko saga belongs.

Given standard shelves, I do think Shikanoko will find fans among readers of fantasy, and I also think it might benefit from being placed on some YA shelves. I’m projecting: if these books had existed when I was 12 or 13, I would have been totally engrossed. I would have wanted to be Shikanoko, or Hina, or one of the tengu.

Maybe that’s a useful measure of fun: to what degree would I have liked this at twelve?

Okay, I am already plotting some surreptitious reshelving efforts. But I think we should keep Nicola’s question going. Where would you all put Shikanoko?

Toby Barlow: We all need our genres. It’s human. Genesis 2:19–20, Linnaeus, etc. We need our classifications. It tells us where we’re starting from and gives us a hint where we’re going. If the author wants to mess with that, well, okay, so long as they know how to fly that spaceship. But you have to start from somewhere.

My mother used to go into bookstores and move my novels from the “Horror” section to the “Romance” section. If I had a bookstore I would file Shikanoko under “Dreams You Wish You Had” or “Bittersweet Candies” or “Travel.”

Robin Sloan: The thing I love about genre is the freedom that comes from constraint. That sounded more Yoda-like than I intended. What I mean is: every genre is built on a bunch of implicit contracts between writer and reader. For example, in fantasy, one of those is: “I’m going to put a map in the front of this book, and you’re not going to ask me where in the hell these places are supposed to be.” It’s a fragile thing; I mean, the Westeros of Game of Thrones — is that another planet? An alternate history? A dream? It’s an impossible question and a totally deflating one. The key is: never ask. Genre is you, the reader, agreeing that you won’t.

The thing I love about genre is the freedom that comes from constraint.

I think you have to be conscious of those contracts when you start writing, or you risk getting bogged down trying to answer questions that should never be asked. Can you imagine Lian Hearn trying to “explain” the emperor’s magic lute in Shikanoko — where it came from, how it’s able to conceal itself and play of its own accord? Even keeping fully inside the fantasy frame — “it was crafted by the mountain goblins” etc., etc. — it would be a drag. Hearn knows better. She understands her readers have already agreed (or: are begging) to just go with it.

Viewed this way, the compact between writers and readers of traditional literary fiction seems pretty thin, doesn’t it? What is the contract? “I will read this book and see what I think of it”? Ouch. That’s not much fun at all.

Kelly Luce: PRINCE IS SHIKANOKO! I just started reading the third book and now when I picture him, I see a little mustache…

I’d file Shikanoko under “Devourable Epics” or “Books You’ll Stay Up All Night To Finish.” And definitely in Travel. Bookstores should be required to shelve books with a strong sense of place next to their respective Lonely Planet guides.

The genre label argument goes in circles. Labels are useful, as Toby points out, and as readers our easily-overwhelmed human brains need these heuristics to organize information and make decisions. But when you look at it from the writer’s standpoint, things get murky. I don’t know about you guys, but when I start a story, I don’t usually think about its taxonomic rank — maybe what kingdom it’s in, but not which phylum or class. I wait for the tone to arrive, usually for me in a voice I can hear in my head — either a narrator’s voice or a character speaking. And the creative process proceeds from there. We’re all products of everything we’ve ever read, and the more widely we’ve read among genres, the more likely it is that we’ll create something that falls in between labels. More writers are owning, are proud of, their genre-heavy reading past, and the result is this cool blending of literary and genre genes. Shikanoko is a perfect example of this. It’s exciting to find work that’s so engaging and yet so unclassifiable. It means literature is evolving instead of becoming stagnant. (Okay, I’ll stop with the biology metaphor…)

That psychic toaster story came from pulling three scraps of paper out of my “idea box” and making myself write something that included all three. I picked “Jehovah’s Witnesses,” “an appliance with a superpower,” and “a whole lot of beer.” I fit the pieces together in my head pretty quickly plot-wise, but it wasn’t until I realized that the narrator was a twelve-year-old Japanese boy who was sort of on the sidelines of the action that I knew how the story would feel its tone. Despite the weird premise, it’s a very standard “literary” story. It’s about death and fear and grief. It has a traditional structure. There are no monsters or villains or spies or sorcerers. All the magical/fantasy stories in my collection are like that. I think a few people were disappointed when they read the book — they were expecting hard fantasy. “You don’t tell us exactly what happens at the end,” is another thing I heard. Magic triggered in some readers the expectation of a clean, tied-bow fairy-tale ending.

Sean McDonald: This feels like the moment for our own clean, tied-bow fairy-tale ending. But in lieu of that, before we go, let’s blow up our neat conclusion with any questions you’d like to cast out to Lian Hearn. Toby has already wondered aloud about Hearn’s planning and process. Anyone else with questions?

Robin Sloan: There’s almost too much I want to know! Several of us have mentioned the sense of never knowing what’s going to happen next in these books — or even what could happen next. Did Lian Hearn know ahead of time? Or was her ride as wild as Shikanoko’s?

Nicola Griffith: I’m curious about which bookshelves she’d put Shikanoko on if she could choose….

Kelly Luce: Yes. And if she had her own bookstore, how she would organize the books.

Lian Hearn: I like to think I write in a genre of my own. It’s true that neither fantasy writers nor literary fiction writers have ever really accepted me as one of them. Maybe this is one of the consequences. Maybe the books are too easy to read, too much fun. But I don’t mind as it gives me the freedom to remain on the margin. Maybe I would use that as a category: books from the margin. I like very much the suggestions you made! I think booksellers should put books into several categories, so readers discover them in many different places.

I like to think I write in a genre of my own.

If I had my own bookstore… I should be rearranging my own bookshelves, all in a muddle after our move. I’m thinking about doing it by color as it’s the chief way I remember a book. And a lot of the books are in my bedroom so it would look pretty. But I would definitely have a section for “books that become best sellers that I personally don’t care for” and one for “books I love which inexplicably never became best sellers”. My husband said to me this week, “The books that you have been talking about all seem very idiosyncratic,” so maybe I would also have a category: “books that no one else except this author could have ever possibly written.”

I’ve just finished with second-pass pages for Lord of the Darkwood, making it about the 500th time I’ve read it. I’m at the stage where I no longer recognize if it is fun or not. So it was amazingly wonderful to read the responses, especially from a circle of such accomplished fellow writerly demons.

Many thanks from Electric Literature to all the participants.

Native American and Indigenous Lit Forge New Trails

Eighty-three hundred miles away from the Billings, Montana-based indie Off the Pass Press and over across the Pacific Ocean to The Land Down Under and settled in the heart of downtown Sydney, Australia, lies a popular haven called Abbey’s Bookshop. On the nonfiction section shelf next to a book about NSA whistleblower Eric Snowden by award-winning journalist Luke Harding rest copies of a book called 8 Women: Pure Platinum People, by K.M. Harris, a Maori woman author from New Zealand.

Off the Pass Press was the publisher of Harris’s debut first person narrative and gonzo-styled work where she gave observations and a non-judgmental voice to — among other interesting people — various women working in Sydney’s sex industry.

I first approached Harris last year around the time me and a few other Montana Native American writers had just put out a book called Off the Path: An Anthology of 21st Century Montana American Indian Writers Vol. 1. Although that book has been highly praised — particularly for the unapologetically blunt, highly original, and dark storytelling — its uniqueness also lies in the fact that, as far as I know, there has never been an anthology of all-original, straight fiction works written solely by American Indians.

As far as I know, there has never been an anthology of all-original, straight fiction works written solely by American Indians.

Certainly, Native-based anthologies have been made, but those oft include a lot of poetry or samples of previously published works from the famous Native American Renaissance writers of the late ’60s–’80s. Since Off the Path Vol. I writers were in their twenties and thirties, our experiences not only differed generation-wise, but so did the nuances of us being various Northern Plains Montanan tribes (barring the late Blackfeet writer James Welch who is mentioned in the prologue as an inspiration).

For Volume II, I wanted indigenous writers included from across the U.S. and wherever else younger “21st century” indigenous writers might be. Certainly, I wanted to see if any up and coming Maori writers were willing to contribute, as I’d come across references to their culture via a Kiwi/New Zealand friend who worked at the Native American Studies Department at the University of Montana. And a few years earlier I’d interviewed a Stanford graduate from my own Northern Cheyenne tribe who had traveled back and forth from New Zealand, making her secondary homeland amongst the Maori people.

anthology

“They’re just like Natives here in that they’re very family-oriented,” she told me. “Tribalism is very much alive and well over there, and they have language programs to keep their culture thriving and alive.”

Through the powerful God-like tool that is the internet I came across the passionately driven Harris. She was very excitable and eager to communicate with Native Americans from “the States,” especially after reading Volume I and counting herself a major fan of our work — particularly of Northern Cheyenne and Dartmouth graduate Cinnamon Spear, a writer whose powerful work has the ability to cause just about anyone to wipe away tears.

Although it wasn’t a guarantee she’d be published in Off the Path II, An Anthology of American Indian and Indigenous Writers, I gave Harris and other possible contributors deadlines and said you know the sort of “beautifully bleak” work I prefer so give me your best, and that she did in a fascinating short story called “The Recruit.” It details, among other surprising subplots, the death of a young woman who joined the proud New Zealand Army that incorporates Maori fighting instincts and traditions. A young narrator speaks of her deceased sister:

Surrendering, my heart surrenders to the aching stabs inside my chest. The punctures cause my rain to pour, charging the static storm in my head and I am a mess in this weather of ‘whether.’ Whether I cry or pray, it’s not going to bring her back and whether I gamble with the Devil to resurrect her soul, it’s still not going to bring her back.

Beautifully bleak, indeed.

Off the Path Vol. I began with a Sherman Alexie’s preface quote, “I write in blood because I remember what it felt like to bleed,” foreshadowing an array of oft tragic stories that transported readers into the lives of American Indian people amidst their modern day struggles and conflicts away from the tourist hot spots, pow wow celebrations, and historical caricatures that most often represent us to a mainstream western world that usually barely recognizes us through eyes of a whitewashed history that views our own narrative as inconvenient.

For example, after the Indian Wars effectively ended in the late 19th century, Native children who dared speak the languages first heard across this land were severely reprimanded and beaten in the boarding schools they were forced to attend far away from their homelands.

Storytelling reignited the fire that colonization tried to extinguish.

“Kill the Indian, save the man,” a phrase coined by Richard Henry Pratt of the infamous Carlisle Indian School in Pennsylvania, became a de facto motto for all boarding schools as tribal children were taught to be ashamed of who they were and where they came from. “Let all that is Indian within you die!” said Rev. J.A. Lippincott at a Carlisle commencement address. Students were told they could never become “truly American … until the Indian within you is dead.”

But through it all and under the scarred ashes of their collective histories, a fierce, resistant, and proud spirit remained smoldering. Elders told stories that would carry on tribal traditions and history. In fact, storytelling is what kept Natives proud even as Western Civilization attempted to drill into them the notion that they were inferior. Storytelling reignited the fire that colonization tried to extinguish.

Then, as more Natives learned to write, we were able to relate on a personal level with other indigenous peoples who we otherwise might not have ever come across. From South to North America on over to the islands in the Pacific, from Hawaii to New Zealand and Australia, we can now relate to other indigenous people on a base level as stories and struggles are shared.

Among those Off the Path II writers who were eager to share stories with other indigenous people was Hawaiian Kristiana Kahakauwila. She was selected for the Barnes and Noble’s Discover Great New Writers program for her realistic portrayals in her book of short stories about Hawaiian Natives away from the tourist hotspots, This is Paradise.

The young Australia-based writer Ellen van Neerven had won national awards for her debut book of short stories, Heat and Light, and had already been editing and promoting fellow Aboriginal works. When approached about Off the Path II she was eager to contribute to our international collection.

We know we are not alone, and we know we are similar not only because of the discrimination and hardships we’ve powered through, but also our ancestor’s pride that fought for their future descendants.

Still, despite collective tribulations and stereotypes we still face even today, we recognize and embrace our tribal differences. Our identities are not of a one-size-fits-all pan-indigenous nature, but ones of diverse cultures, languages, and geographical differences. Through those intricate lines we’re able to write about our experiences today from distinct points of view.

Our identities are not of a one-size-fits-all pan-indigenous nature, but ones of diverse cultures, languages, and geographical differences.

“It’s not just one story, where a mainstream audience will say, ‘This is what Indians are like,’ ” Sterling HolyWhiteMountain said about the Off the Path to Indian Country Today Media Network. An Iowa Writers’ Workshop grad, he’s a Blackfeet Indian and contributor to both volumes. “That’s its value. You get to see different people writing about Indian Country in their own way, and they’re doing it together. I can’t understate the importance of multiple voices. You need a broader spectrum view, because in American society, one Indian speaks for everyone. It happens over and over.”

The anthologies are about how we view the world as we know it and share it to other indigenous peoples through the lens of our own creative control; not what perhaps some so-called Big Five New York publisher or outside editor assumes the Native experience should read like because maybe they’ve previously read Louise Erdrich, other Alexie works, or an aforementioned Native American Renaissance-era book from decades ago and deduced that Native American literature representation had already been fulfilled.

“We’re not all Sherman Alexie, he has a very specific voice and he has a very specific experience,” Crow Indian writer Luella N. Brien said in a Bighorn County News interview, a small town Montana-based newspaper. Luella and her older sibling Eric Leland Bigman Brien contributed to Off the Path Vol. I.

She continued, “The Natives in Montana, we have a very different experience from him and yes, we all deal with alcoholism and drug abuse on the reservation, but there’s a cultural difference along with a contemporary view that differs from where he’s from and where we’re from, as well as just being a younger generation.”

As far as colonizers are concerned, “Indigenous people are always in the way,” HolyWhiteMountain noted in a Montana Public Radio segment titled, “Beyond Sherman Alexie.” He said, “The desires of nations are for resources and land and there just happens to be a group of people here that are in the way of that desire. That’s one of the defining experiences of being indigenous.”

Whether the non-indigenous audience relates to or ‘gets’ where our work is coming from or not, we won’t really worry.

So whether the non-indigenous audience relates to or “gets” where our work is coming from or not, we won’t really worry. After all, our public school systems are already inundated with mandatory reading written by and about whites with the occasional token minority yet books like Alexie’s award-winning The Absolutely True Diary of a Part-time Indian young adult novel are deemed offensive and continually marked to be banned from high school curriculums.

In the Off the Path anthologies and like most literary works, there are no guaranteed happily-ever-afters, but there are certainly stories that allowed some of us to creatively breathe out personal demons that may have long plagued our souls as we aimed to intrepidly speak from our hearts as we spilled blood and tears as ink on the book’s pages, just as Spear did when she described fleeing an abusive situation as a child with her mother in a Vol. II story called “Jimtown Ruined My Life”:

Stars witnessed our dark escape. The sound of freedom was gravel beneath our feet along a rural Montana highway. I told her, “Mom, breathe. Don’t cry. We’re alright now, Mom.” She’d squeeze my hand, “I know.” She tried to regain composure walking sloppy drunk. Her cries shot through the night sky before she’d inhale quickly and swallow them again.

She hated to leave her other children behind. I did too but I couldn’t stay for them. Mom didn’t have a job, money, a car or house of her own. He isolated her from her family and friends decades ago. I had to make sure that if she felt she had nothing in this entire world, she at least had me by her side. I walked tall. I walked steady. I carried my teddy bear in one hand. In the other, I carried my heart.

Lakota writer and Off the Path II contributor Dana Lone Hill described in a Partnership With Native Americans interview how she wrote her debut novel about the Pine Ridge Indian Reservation in South Dakota, Pointing With Lips: A Week In the Life of a Rez Chick, with golf pencils and “napkins and anything I could just to keep going” during a dark time of her life while awaiting sentencing in jail.

Lone Hill recalled thinking, “‘I’m not going down like this…I have so much I am capable of because I am a Lakota woman and came up around strong Lakota women.’ I knew that as soon as I hit freedom, I was going to get my voice out there, and I have.”

For indigenous peoples, love of family and plenty of shared communal humor still arises as life’s primary motivator despite grim statistics that formulate outsider perceptions. “Most media is about sadness,” Lone Hill said. “We as Indians get through the struggle with laughter. I want people to see that’s who we are, not the romanticized people of Hollywood or the pitiful stories the media portrays us as, but real people.”

Whereas humor, heartache, and colonized-based complexities are acknowledged between indigenous cultures through writing, we also might be able to bridge gaps between the non-indigenous world as shared humanity is conveyed.

“Decolonization and love seem like unlikely partners or unique inner demons,” Navajo and Off the Path II contributor Bojan Louis noted in an essay about his own childhood trauma titled “Beauty & Memory & Abuse & Love.” “But that, too, is erroneous.”

Although societal issues may be naturally highlighted throughout the course of a narrative, artistic literature isn’t founded on catering to current political sensitivities, but generally something far more personally transcending.

Tucson-based Off the Path II Blackfeet writer Bill Wetzel navigates a yearning tale of love and companionship that “sauntered” away from him and left countless unanswered questions in “The Maze”; Paiute and Shoshone writer Kenneth Dyer-Redner contributed “Small Tremors,” a story based on witnessing his grandmother’s struggle with Alzheimer’s as she tragically sought out her deceased husband of many years.

My own Vol. I story, “He Doesn’t Know He’s Dead Yet,” is about the narrator’s brother, who was killed on a cold Montana Indian reservation prairie. That story was based on my own brother’s murder, and I described the anguished cries of the bereaved mother while my own mother’s real-life cries still echoed in my head.

It might technically be fiction, but many readers definitely know it’s real — especially if they’ve been there too. That’s exactly how they felt when their close friend or relative died as the whole world moved on and seemingly didn’t care or understand.

The story understood, however, and that’s why we write them.