Why Am I Still Attracted to White Men?

Why Am I Still Attracted to White Men by Jeneé Skinner

While visiting a friend in Fort Collins, Colorado, I decided to go on a date. I’d been spending a fair amount of time on dating apps, avoiding my writing, and coping with the lackluster holidays by juggling a few conversations at a time. I matched with Patrick while visiting an art museum. Bald, beard, blue eyes, lean muscle, octopus tattoo streaming across his shoulder and back.

My friend Charlotte was more excited about the date than I was. How long have you been talking? Where’s he taking you? What outfits are you deciding between? Do you want to use some of my makeup?

While I admired her excitement, I didn’t quite match it. There were 8 outfits in my suitcase. I knew which I was wearing. Umber sweater dress, almond cardigan, thigh high socks. I didn’t expect much more than passing the time with decent conversation. I tried not to expect much from the apps. Most matches don’t respond, those who do don’t get past lukewarm surface level responses that peter off after a few days. Very few ever lead to a date. I was just feeling restless in my own skin. Being distracted felt like a rescue.

“You look beautiful,” Charlotte said, coming up behind me in the bathroom after I got dressed.

“You know I’m not good with compliments.”

She smirked. “Well, it’s yours whether you like it or not.”

Charlotte is pretty. Her style is a mix between slutty and 1950s beauty. Whenever I took a picture, she smiled perfectly on cue.

Later that evening, Charlotte’s boyfriend, Noah, came over to meet us. His handshake was firm, he limited eye contact to five seconds or less, looking away when I looked directly at him. We connected over anime and watched a few episodes of The Way of the Househusband. He ordered pizza. Charlotte, mindful of the time, checked in with me. “Are you nervous? Here are some of the places that are still open.”

Noah said the logical thing. “I’m surprised you’re going on a date since you live in Iowa.”

“It’s just for fun,” I said.

Charlotte concocted an imaginative rescue plan, offering up her boyfriend as a service—more joke than truth.

I planned to take an Uber to the dessert bar, but was nervous about getting in Patrick’s car afterward. I showed Noah and Charlotte pictures of him, told them his full name, and the type of car he had. Charlotte concocted an imaginative rescue plan, offering up her boyfriend as a service—more joke than truth.

“If you’re ever in a sketchy situation, Noah can come in and pretend to be your husband and whisk you away.”

Noah snorted. “Can you come up with something more realistic?”

I didn’t know what to say, so I said nothing. The show played in the background. Loofah, Charlotte’s cat, stretched out on the floor, curling and uncurling his tail. It wasn’t awkward. My face is usually stoic so I’m hard to read. I don’t remember how the conversation continued, only that it did. Noah’s response echoed inside me for far too long afterwards. Initially, I’d heard it as an insult. It wasn’t until over a year later that I realized that he was referring to Charlotte’s elaborate backup plan. I’d held onto a throwaway comment and let my own insecurities get the best of me.

As a black woman with prominent facial features, dreadlocks, a thicker body with broad shoulders, my romantic options are limited. Definitely different from Charlotte’s. Though she’s Latina, she passes for white. I’d previously brought this up, but she wasn’t conscious of what it meant, the privilege that was available to her.

When I first moved to the Midwest, I worried about being surrounded by whiteness and feeling invisible. It was further complicated by the fact that I was primarily attracted to white men. Perhaps because that’s who I was around more. The older I become, the less interested I am in being defined by my race.  I saw my identity and interests as a human being outside of my race more as time went on. And as I moved away from home, finished grad school, and worked to advance my writing career, I knew that would impact the dating options that were available to me.

Back in the first few months of us meeting in Iowa, Charlotte and I had a picnic in the park where I voiced my concerns about dating.

“I just don’t know what’s available to me out here,” I said.

“That’s normal. Moving is a big transition” she responded.

“But who will see me?”

“I actually think you’re very attractive.”

I felt nothing after she said it. And it took me a few years to figure out why. Why when friends or platonic relationships tried to compliment my looks or character that it didn’t feel right to believe them. Eventually I realized my friendships didn’t hold me in the middle of the night, protect me from harm, or help me financially function. I want to be loved and touched and fucked. Most friendships don’t stretch that far.

As for the rest of the evening in Fort Collins, Patrick and I couldn’t get in the dessert bar without our covid cards so we went to Denny’s instead. Noah scoffed at this detail as I recounted the date later that night while we all hung out at a bar. “Not very original, dude.”

“Not everyone has a chance to plan the date like you did,” Charlotte said.

I asked about their first few dates, more so Charlotte would stop asking me about how things went with Patrick. Things went well enough. We hugged after he drove me home. But I knew a future was unlikely. I liked the fantasy of an attractive man with a decent job, who still believed in God and marriage taking an interest in me. I didn’t mention it to Charlotte, but I was also talking to a Nigerian engineer. We didn’t get a chance to meet while I was in Fort Collins, but he wanted to keep up our phone calls. Patrick unmatched me when he found out I was back in Iowa. I stayed in touch with the engineer for a bit while talking to a few local men. Over the next few months, one turned out to be married, another was my pen pal for 6 weeks until he finally ghosted the day we were supposed to meet, still another decided several months in that he wasn’t financially stable enough to be with a woman. Exhausted, disconnected, a desire to escape is all I felt at the end. It seemed cruel to keep up the charade, to myself or anyone else. The engineer in Fort Collins wanted to stay in touch, but I didn’t.


Charlotte had started dating two weeks after her breakup with her ex, Owen. She’d dated Owen both years of our grad program and lived with him the second year. I knew her pain as I went through the end of my own 2-year relationship the summer I moved to Iowa. I feared dying alone. Had to get used to sleeping by myself, abstaining from sex, grieving. For the first 3 months, I focused on writing my novel, but when I came up for air and remembered how lonely I was, I decided to go on dating apps. At first, I was excited to be picked. But I quickly learned how empty the process was.

Among the lessons and disappointments were several men. A white gay couple who had a fetish for slave master dynamics with black women. It remained virtual and eventually I left the chat, but I lingered in it far too long. Next was the cop, Nathan. Cold, handsome face, dead eyes. Mid-thirties and had only been in a series of situationships and one-night stands since college. He ended things after Christmas. I’m just not ready, he texted. Last was my rebound from the cop. A divorced Trump supporter. I wasn’t thinking.

I spent the winter in mourning, wanting to burn myself clean and new. Shame was my new lover as I watched Euphoria and skipped classes. I wanted Charlotte to avoid some of the damage and heartbreak I went through. I’d send her Instagram posts that’d been useful to me with messages like: If you want to lighten your heart…Reveal your secrets. Release your shames. Free your resentments. Feel your pain. 

But it was her void to fill. It led her to Noah. To this day, she’s still angry at Owen for mistreating her. When she first started seeing Noah, she asked me if I’d seen any life updates on Owen’s profile or heard from any of our friends still in the workshop. 

“I need answers, Jeneé,” she said half-jokingly.

“Even if I had them to give, what would it change?” I asked.

“You don’t understand. He left so many things undone in me…”

“I’m your friend, not his. So I don’t know.”

The strongest memory I recall of Owen are American Spirit cigarettes tucked in his shirt pocket and the group dinner where he told me how much he loved Charlotte. “My home is with her,” he lied. I’ve seen enough of his social media to believe life has moved on. While they were still together, Charlotte only mentioned that she and Owen were going through hard times. I let her know she could stay with me if needed. After their breakup she revealed Owen screamed at her repeatedly towards the end, sometimes for more than an hour. It’s interesting how our desire to protect those we love, even as they continue to hurt us, contrasts with our desire to hurt them after they throw us away. When all we’re left with is pain and rage that needs somewhere to go once the love’s gone.

While there are threads of shared experiences between Charlotte and I, the fact remains that she found love again. As of now, I have not. There may be other various factors at work: Location, likeability, being a stable, functioning adult, shared values. But I can’t help but wonder if appearing to be a cute little white girl made a difference.

Of the marriages I’ve seen, most of them have been with non-black people. An article in Time magazine reported that black people are more likely to be single (59%) and that black women (62%) are the most likely to be single of any sector. I asked my Nana and uncle why this was. 

“Most of us need therapy. Living in a trauma induced state makes it difficult to consider another person’s wellbeing,” my uncle responded.

Nana wrote, “Women and men, have lost their true identity and don’t have a clue about what they want and what they are willing to contribute to a healthy loving relationship.”

I found myself grappling with where I came from,. the relationships I’d seen. My life was dominated by women. My mother, Nana, my godmother Emery, my mentor Kalani. Single mothers, single women. Marriage was something I saw on tv or occasionally heard about from my teachers at school. My brother’s grandparents who babysat me in early childhood were married. My brother is married to his 2nd wife. Eventually my uncles got married. One has since divorced. My father just recently got divorced. Nana and her mother have both been widowed and never remarried. “Even if I wanted to, what options are there?” Nana remarked during one of my visits.

It was expected that I’d have sex, have children, and go to work, because those would follow me throughout life.

Marriage and domestic life weren’t a prison to me because they were never even presented as options. It was expected that I’d have sex, have children, and go to work, because those would follow me throughout life. Men were never mentioned because they never stayed, in life or in death. My mother didn’t even acknowledge dating for me. When I told her an early boyfriend proposed to me when I was 22, she chuckled and rolled her eyes. I guess she was right given that it didn’t last.


I come from a single teenage mother. She tried to commit suicide for the first time when she was pregnant with me. No one but God knew I was there. She called her best friend a dozen times before swallowing a handful of pills. 

“I’d fallen in love for the first time. With your father.  It was overwhelming,” she said.

My parents’ relationship was over before I had memory. Within 6 weeks of the first semester in college, my mom had gotten pregnant with me. Among the things that brought them together were Daisy Duke shorts, dad’s grill, and Faith Evans “Love Like This” (Fatman Scoop Remix). 

My father didn’t learn what true love was until years later. The love of his life, my brother’s mother, died of an asthma attack on a winter’s day. Dad’s grief filled the Brooklyn brownstone as he remembered the mole above his beloved’s mouth.

He later married and divorced a woman in North Carolina. His kids weren’t included in his attempt at happily ever after. I’ve seen him a dozen times in my life. A familiar stranger whose smile I share. He’s tried to talk more than I have. Decent man, capable of laughter and kindness. He’s recently had a heart attack and stroke. Before that, his marriage was ending. He called me during both times. I could feel him reaching for a human connection, a woman’s touch. I was what was left. My father taught me about the men who marry so that they can be taken care of. After living as a nomad—once their mistakes and noncommittal lives catch up to them—a woman is expected to become their home.

There’s always surprise in his voice when I reveal wisdom that he didn’t teach me. I express empathy for him well, even genuinely feel it at times. But where was he when I needed it first? I used to wonder what my life would look like if he passed away. I quickly realized it would look the same. No holes, no tears, no pain, just a black dress and plane ride to New York for the funeral. How do you love someone who’s always been at a distance? I don’t know, but it’s there, made of obligation.

The love and honor my parents want from me is based on a dream. A dream where they gave more than they did, showed up for more than just my moments of success. I see my best traits in you, my worst traits in your brother, mom wrote to me my freshman year of college. But her best wasn’t reserved for parenting. She gave what came naturally, what made her feel good, what helped her escape, what didn’t question her, and allowed her emotions to roam. The food, the men, the money she struggled to manage.

This wasn’t the mother she came from. Sometimes I wonder why I wasn’t Nana’s daughter instead. “I would’ve been a housewife if I could have been,” she told me. I can see it in the way she cleans before the Sabbath, the scent of tea candles, and her zucchini bread recipe. I see parts of the woman I want to be.

Nana was the eldest of 5 siblings. A teen mother. Her father gave her an ultimatum:  abort my mom or get married. “I loved him and would’ve married him anyway,” she assured me. I believe her because that belief formed the fabric of my mother and me.

16 years later, when mom grew pregnant with my older brother, Nana told her she was having the baby. No discussion. Several more years, when mom was pregnant again, she chose me. “I saw your heartbeat and that was it.” My father wanted her to get an abortion. He has no claim on me. He has no right to be mad at my mistakes or celebrate my successes when he’s been less than a ghost in my life. Ghosts haunt, hold memory, desire to disturb or be laid to rest. My father simply wasn’t there. The lessons I’ve learned, the few men who showed up and the living that formed me don’t belong to him. He was a part of my mother’s beginning, not mine.

“If you could do it all again, would you have married dad?” I asked, sitting across from her bed.

Mom didn’t look up from her phone. “No. I wanted to do things my way.”

Her answer didn’t involve me at all. There was no depth or memory to it. Memory of the lights going off. The gentle eviction from family friends. The tears that had nowhere to land but the steering wheel as she drove. Unpaid bills old enough to be my siblings, or when I was touched and she responded, “I wouldn’t have let my brother do that to me.”

It was about control, or rather, being out of it. I watched her chase death, both fast and slow. Pills were the fast way. The rest of life slowly decayed her bones. She preferred having a blurred sense of right and wrong to wade through when convenient. If she accepted help, that might mean she’d have to change or at least admit to her mistakes. She would have to learn to speak the language of others, one that included patience and compromise. It was easier to just be right, to believe her way was the same as survival.

I left home to form my own story, but I’m still figuring out community after years of solitude.

While my parents are in me, I have to remind myself that I’m not them. I left home to form my own story, but I’m still figuring out community after years of solitude. 

Friends like Charlotte were practice for learning words again. How to speak outside of pain. I told her of my breakup, struggles with my mother, dating, depression, the past. She listened. I’ve seen her pain too and tried to soothe it. She posted online about Owen’s behavior in their relationship. I asked if she was okay.

“It sounds like you’re telling me I did something wrong.”

“I just want you to be able to heal and move on. Think of Noah.”

“My rage is helping me heal.”

“What about forgiveness?” I asked.

“What about it?” she shrugged.

Charlotte reminded me that while forgiveness is there, it’s not always useful. Some days I forgive my parents, other days I don’t.  But I know I have to forgive them in order to be forgiven. When I do, I prove to myself that I have a future that doesn’t involve reliving the past. A future that belongs to me and that I might share with others.


When I moved to Arkansas, Nana told me “not to get too chummy with the neighbor”, a college-age white boy, after he came over to say hi.

Whiteness was usually handled with suspicion. “They won’t be able to relate to you. How could you ever trust how they see you?” my godmother asked one day at a coffee shop. She and my mother expressed concerns over me dating white men, as if I was being disloyal to my race and the continuation of its legacy.

“His relationship to God matters first. Everything else is secondary,” I responded.

They spoke as though no white man would ever see me as his equal and I’d constantly be undermined. I know the person they described exists. Everything from music to porn portrays black women animalistically, playing into tropes that are projected on us. But regardless of who I’m with, I just want to be a human being who’s loved. Love has been the hardest acceptance to find. I cannot always measure myself by blackness and other identities when I already struggle just to get out of bed.

There’s also an irony to my family’s warnings on the dangers of white men, when their own checkered love lives were laid out in front of us. Men, black or not, who reflected their low self-esteem. Cheaters, narcissists, deadbeats, manwhores who used and left the women with more burdens than before. How could they speak of the dangers of whiteness, but not the danger they brought home with them, let into their wombs, next to their children? My own father wasn’t around to claim, protect, or teach me. These women, whom I love, were defending an idea, not reality. Or at least, not mine.

The two men I loved were black. The first was a mentor who wore sweater vests and coached me through thunderstorms with my mother. The second shared my love/hate relationship with Lena Dunham’s Girls. Their pants were pulled up with belts, they cared about my art and were patient. They didn’t accuse me of sounding or acting white. They understood that being black was more than music, dialect, and fashion. My personality didn’t remove my skin or the family that I came from. One was a father-figure, the other a partner. Both were my lovers.

Most of the men who are attracted to me are black. It’s not surprising, but I feel indifferent to this fact. It doesn’t make me feel more secure to know I share physical features with certain men. Of course there are cultural implications that are assumed with race, and yet it’s not a one size fits all ideology. We don’t automatically share the same thoughts and experiences around race, history, and culture. There are an infinite number of ways for black people to view themselves and the world. Skin deep is not deep at all.

When I told this to Charlotte, it was like I’d begun speaking a different language. Having passed for white all her life, it wasn’t a concern for her.

“My sisters are all darker than me and resented me for my lighter complexion.”

I found it difficult to sympathize with her. Her family didn’t view her as betraying her race by dating white men. The men who sought her didn’t make assumptions about her based on how she looked. The inconvenience she experienced in childhood didn’t remove her privilege at present. I admit to the hypocrisy of minimizing the importance of race in my choosing a partner, while being defensive of the motives of white/white passing people in choosing theirs.

My biggest rule was that I couldn’t be with a man that looked like my brother.

My biggest rule was that I couldn’t be with a man that looked like my brother. A mixture of thug and bum. Heavy, tattoos, beady eyes, gapped teeth, scraggly beard. Lips darkened by cigarettes, crooked fingernails from biting. Aimless and ready to pull any woman from her goals or journey if she let him. When I see these features in other men, I’m reminded of what was taken from me, of the danger my mother protects because it reminds her of the home she came from. Childhood wounds in the shape of a father, a man who slipped into the role when it gave the most leverage and back out when it hurt the most.

Two years ago, I decided I couldn’t use my mother as a metric system for my life anymore. She and I aren’t special for our contradictions. Everyone has them. But she was the true first love of my life, the first pair of eyes through which I saw, and my first heartbreak. When I think I’ve gotten over her, I see her in a man, one that I want to help or to love me back, but instead must escape. I keep running from her and she keeps finding me in men who are beautiful broken mirrors. Even now, my mom messages me about living with her or at least Nana and grandmom to be closer to home. The familiar is seductive. Even if it threatens to shrink or kill off parts of you.

The love my mother has for men who take and leave—her father and mine, other lovers, her son—is a dangerous road. I’ve traveled it in my own way, carrying the spirit of rejection, reaching out to people who leave, trying to convince them of my goodness, being the person who stayed and endured what they became. The only reward in it was the lesson. In all of these people lay the spirit of my mother somewhere. Her temper, inconsistency, mania, stubbornness, selfishness, fear of commitment. Lust and distraction.

Once upon a time, I believed the years would look different on everyone. No one wants to believe that today is the same as 20 years’ worth of yesterdays. It takes courage to love someone as they are, to accept what changes and stays the same. I’ve fed off places to blame, especially my parents. I have to remind myself of what they’ve given me, the good things that sustain and mean me well. The grandchildren who need them. 

My parents are the closest experience I’ve had to marriage. An old love, the kind that teaches me, that holds rocks that existed before and now next to me. Whether it’s quiet or dark, whether they’re held by glass or water, they only know how to be themselves. They age and erode along with me, their minerals and the history that formed them. I see in their streaks, smoothness and edges. The love moves though it doesn’t disappear.


In moving away from my mother, I was often moving away from the places and people who look like me. At times this surrounded me with whiteness. This wasn’t intentional,  just the available option to support my education and writing. Since kindergarten, I was used to not fitting in. I was too quiet, I wore the wrong clothes, I had the wrong conversations, my breasts grew too quick, I sought attention with sex stories, I wrote letters to boys who refused me. Being one of the few black people around was just another thing to add to the list. For a time I did compare my lips, hair, skin, and body to white women, wondering if I was enough when I talked to my first white boy. But my insecurities had been there for years.

Now, I don’t have the energy to constantly hate myself. I’m now trying to maintain a body and self I can love, that doesn’t have to carry the burdens my family has. Failing teeth, pain in their joints, hips, insomnia, weak heart, weight that keeps them from moving. I see who I can become if I’m not careful. And for better or worse, I still want to be desired. Desired, loved, married and fucked, knowing full well the last can’t happen without the first. While I don’t run from my features, I do wonder how best to accentuate them. How to smile, to look in someone’s eyes without instantly looking down or away, how to manage my weight and muscle tone. To be healthy consistently in ways my mom wasn’t.

Yet society continues to become more distant and foreign. I don’t need to explain what dating has become. The vapid, noncommittal, unhealed, sex-obsessed, and transactional playground that the apps are. The longer I participate, the more convinced I am that I should’ve found my husband in the 90s, a time where love might still have been alive and not hidden under rocks and dead things. Parts of dating seem less about race and more about the culture we’re currently in. There’s nothing wrong with pursuing financial stability, purposeful careers, singlehood, friends for visiting comic bookstores. But what about our desires beyond those things?

I consider the areas of my life that still need work. Finish the book, get a regular job, continue therapy, learn to drive. The Christian and relationship podcasts that advise to focus on God and the person you want to become. I’ve concluded, as I’m sure most have, that much of the information and portrayals of living online aren’t real. Most working-class people who don’t take trips to Cabo will remain working class people who don’t go to Cabo. While there are healthier points at which to enter relationships, there’s never a perfect time. Many of the couples I know didn’t have a clean start. They’d just ended or were still in previous relationships, dated under a year before marriage, met at a funeral, etc.

Charlotte Lucas from Pride & Prejudice said it best. I’m 27 years old. I’ve no money and no prospects. I’m already a burden to my parents. And I’m frightened.

I’m 30, poor, depressed, and abstinent. My mother still pays my phone bill. I’m not able to keep up with this world, and yet I know I’m far from being the only one. At times it seems like it’d be easier to be content with sex and companionship, to not expect a man to be more than a friend or lover. I’ve tried. A man with green eyes and no future stopped by to pick up his glasses from my place. He was neither friend nor lover, only a distraction that I wished could be more. We started to watch an episode of The First 48 when he picked me up like I weighed no more than his dreams. When I stared at the blue inside his green eyes, it was easy to forget pain. His growl filled the pit of my stomach with such hunger that all I could do was bite him. His hands and smell were strong and I wanted them both to fill me deep enough to forgive him and forget my own shame. He was a whore and reminded me of my capacity to become one too. In bed, I remember that he wreaked of my mother, and that there’s a God. Neither the green-eyed man nor I had condoms and nor did several stores he went to, so we didn’t have sex. My choice. Hard not to believe it was a sign. Eventually the spell was broken, he was gone, my life was the same, and there was still writing to be done.


Women who are smarter, prettier, more capable than I am, are struggling to find someone.

Women who are smarter, prettier, more capable than I am, are struggling to find someone. And yes, black women do still struggle in ways that other races of women don’t. Black women and Asian men are chosen the least on dating apps. The tropes associated with black women – loud, angry, ignorant, promiscuous, baby mama, welfare queen, rebellious, rainbow weaves, fake lashes and nails, and of course twerking—portray us as a flavor to try at best, rather than a potential partner to share life with. There are those who count us out before ever getting to know us as individuals. Assumptions about cleanliness, intelligence, and politics were made just from my dreadlocks. 

DEI efforts to diversify film casts (and shows created by Shonda Rhimes) are well-intended in showing interracial relationships, but as a black woman living in the Midwest, this hasn’t been my reality. White women are still prized first, then other non-black women, and then us. There are stereotypes attached to every race, but the ones attached to black women sometimes contribute to singleness, and the lack of solid family structures.

I find myself torn between this reality and the one where dating is harder for most people with limited time, energy, resources, and options. I struggle to find someone who isn’t trying to get the most of me for the least amount of effort. Many see the person on the other side of their screen as little more than a temporary distraction from boredom. Convenience has become a silent killer of intimacy. People want sex delivered to the door. “I want to get you pregnant,” one man told me. “I can bring snacks over,” said another. Everything has been commodified. Our bodies, emotions, stories, love, pain. 

I’ve discovered how little a man’s pleasure can have to do with a woman’s. While men obsess over their orgasm, women are often just another way to jerk off, used as human toilets for male release and validation. Very little thought is put into connection or making a woman feel safe, desired, and valued, let alone pleasured. The orgasm gap between men and women has been well documented. There’s no concern for how it might break the woman, or disassociate both parties from their humanity over time. How much harder it is to pair bond and trust. That kind of sex was too traumatic to be pleasurable for me. I tried and it left me empty, praying for parts of myself that had been stolen from me to return. Society had nothing to do with it. The truth is that it’s not even about white men. It’s about finding where I’m loved. Nothing less will do.


I’m not owed marriage or romantic love. No one is responsible for giving me access to their body. There’s a great chance it’ll take years to find someone, or that I’ll remain single. There was a time when imagining myself alone was too painful to bear. Until I remembered that being with the wrong person is worse than being alone; that there’s family in friends and community beyond romance. I name my contradictions, the ways in which I play victim. The truth is that I want someone to commit to me, but I haven’t fully committed to myself.

As I write this I remember that this is where my love lies, the place where I am given back to myself.

The closest lovers I’ve had are God and art. Prayer is honesty and perspective, the bible is a study of human psychology, and the church after years of searching, is friendship. Poetry is the closest I come to sex, to body, to kiss, to warmth, to the perfect sized penis, to hugs, to running the palm of my hand over the heads of flowers. Poetry is like breath. As I write this I remember that this is where my love lies, the place where I am given back to myself. Even if it’s only for a few moments. Sometimes I make the sky my diary, screaming myself into the air as much as I need.

I can spend time pontificating on how my race, sexuality, childhood, and singleness are politicized, or I can finish my book, but I can’t have both at the same time.

Charlotte is engaged. “I’ll wear the dress you got me for my engagement party,” she tells me. I know it fits her perfectly. She’s invited me to be a bridesmaid. A Texan wedding. Snake queen, Steve Earle hits, BBQ, and whiskey. Many kinds of love exist and will show up on her wedding day, and I’m happy to be one such love. If I cry at her wedding, some of the tears will be for her, but some will also be for me.

My mother and I are going to a P!nk concert in a few weeks. I will singshout words. I will scream my teen years back into existence:

So raise your glass if you are wrong

In all the right ways

All my underdogs

We will never be never be, anything but loud

Other than that, there’ll be too much present for the rest of the past to show up. I will wear mom’s pink Nikes as if they’re my own and pray we both stay sane with each other all three days. But even if we don’t, I’ll love her all the same.

There are days ahead filled with purpose, mistakes, meals that I’ll cook for loved ones, lessons in my words and others that I’ll return to. There is life and death attached to my name and every woman I came from. There is dancing, people in different skins who I’ve yet to meet, dandelion tea, family and friends I choose and who choose me. There is a life waiting for me.

7 Thrilling Books About Deadly Games

Like other peddlers of the macabre, I read the short story The Most Dangerous Game at an alarmingly young age, and it was the proverbial needle that pricked my fascination. In actuality, I’m not a huge game person except with Clue and Mafia because, well, who doesn’t want to try and solve (or get away with…) figurative murder? However, raise the stakes, add fear, or make it an escape room, and you have my attention (let’s not examine what that says about me, thanks).

There’s a curious psychological element to something fun and innocent turning dark and dangerous, with panic and the stakes rising like a tide, where the only way through is to out-play the game or gamemaster—or change the rules. Great movies like The Game, Game Night, Jumanji, War Games, even The Menu nail this feeling beautifully. And so, while I was scheming up my first adult thriller, You Are Fatally Invited, I had the thought that if I enjoy stories about adrenaline-laced games, surely others might, too? 

I primarily wanted You Are Fatally Invited to be fun, but also bone-deeply chilling, with a nice heap of the psychological—so my solution: games. In the story, murder mystery dinners, riddles, Clue, escape rooms, and even hints of Mafia take a lethal turn as J.R. Alastor, renowned anonymous author, forces six thriller authors to play his games. Everyone’s got a secret and each game peels back a layer, and the only way for the authors to survive the tropes so rampant in their own books is to confess.

But some secrets are worth dying to keep.

May I offer you a serving of books with similarly twisted games? Here are a few that capture that heart-in-your-throat sensation, and made my heart tap against my ribs:

Look In The Mirror by Catherine Steadman

Game: escape room

After the passing of her beloved father, a young woman discovers that he owned a secret house in the Cayman Islands. Grappling with the realization that she might not truly know her father, the woman flies to the island to settle his estate… and discover what he was hiding in the luxury mansion overlooking the cliffs. 

Completely unrelated, we also encounter an au-pair, Anna, who arrives ahead of her new employers at a certain mansion overlooking the cliffs. She can do as she likes while she waits for the family to arrive—except open the door with the blinking blue light.

Gee, what could be behind that door? It couldn’t be some sort of test, or… game, now, could it?

Hide by Kiersten White

Game: hide and seek

Nothing screams deadly games like a hide-and-seek competition in an abandoned amusement park—seriously, would anyone think everyone would make it out in one piece, or even two? Regardless, it’s all fun and games (literally) until the fourteen contestants realize there are guards stationed around the park’s perimeter… and they’re not allowed to leave. And as their number shrinks, the rest of the competitors realize they’re not just hiding from each other. Filled with hair-raising moments and a slow-burn rivals-to-friends dynamic, Hide is a fun, blood-spattered romp.

Kiersten White excels at psychological horror, and Mister Magic—her second adult book, which follows a children’s television show turned sinister—also warrants an honorable mention for this list.

Rock, Paper, Scissors by Alice Feeney

Game: rock, paper, scissors

This isolated, wintery thriller follows a husband and wife on a romantic getaway—only, ten years of secrets lie festering between them, and they quickly discover their every move is being stalked. Anniversary letters, foreshadowingly specific words of the year, and a slow-burn, creeping unease saturate the story. The couple has used the titular game as a way to settle disagreements and make decisions; only, some decisions shouldn’t be left to chance, should they? It’d sure be a shame if the game came back to bite them…

Also, this book ties with Alex Michaelides’ The Silent Patient for one of the best plot twists I’ve ever read. Like Alice Feeney does so brilliantly, I too aspire to make readers gape at the wall questioning everything they know.

The Family Game by Catherine Steadman

Game: scavenger hunt, survive the in-laws-to-be (I propose that this be an official game)

Noticing a trend? For all your psychologically intense needs, Catherine Steadman has you covered. The Family Game follows a novelist who becomes engaged to the son of an extremely wealthy, extremely… family—and finds herself caught in their completely normal, benign family tradition: a dangerous game involving secrets, high stakes, and a not-at-all-terrifying Christmas Eve scavenger hunt. Initially a slow burn, the story snowballs as family tensions escalate and their cutthroat nature comes out to play. It is delightfully over-the-top, atmospheric, and teeming with clever, eccentric characters.

Horrorstör by Grady Hendrix

Game: hide and seek… ish

This delightfully dark little book brings such a smile to my face. As someone who grew up playing hide-and-seek in and out of wardrobes in IKEA, it’s a sheer delight to read about employees camping out overnight in a sentient IKEA—‘scuse me, ORSK—to try and figure out who (what) is trashing the store every night, leading them on a slightly… different type of hide-and-seek than the one I grew up playing. The book is also peppered with drawings of the furniture, complete with how-to-build instructions that become more and more sinister as the book goes on. Few people can wed horror and humor together like Grady Hendrix; IKEA veterans will nod knowingly at the pivotal (ha) use of a variant of the all-hallowed IKEA Allen wrench. It’s definitely not the darkest/goriest of Hendrix’s books, but it’s not for the (very) faint of heart.

The Inheritance Games by Jennifer Lynn Barnes

Game: chess, scavenger hunts, word games, puzzle boxes, etcetera

Think Knives Out, but with so many more games, both physical and psychological. Homeless high school senior Avery Grambs—a ruthless chess champion with a knack for poker—is suddenly named heir to the fortune of one of the richest men in the world, a man she has never met, but whose fascination with games of all sorts is legendary. At the estate, Avery encounters the slighted former heirs: four brothers, each more clever than the last. Avery finds herself caught in a war of family members vying for the fortune and a killer seeking her more, shall we say, permanent removal.

But Avery is no one’s pawn.

The Inheritance Games is technically Young Adult, but its clever games and whip-smart plotting is sure to delight both YA and adult readers and has left fingerprints over most of the thrillers I write. 

What Lies in the Woods by Kate Alice Marshall

Game: playing pretend

This sinister story follows three girls who grew up playing a game of pretend they called “The Goddess Game,” which comes to a screeching halt when one of the girls is viciously attacked in the forest. She survives, miraculously, and the testimony of the three girls puts the man—a serial killer—behind bars. The only problem? The girls didn’t tell the whole truth about what they saw.

Twenty years later, with the past catching up to them, they’re forced to remember what actually happened when they were children and must differentiate their fantastical game of pretend from reality. What Lies in the Woods is a razor-sharp cautionary tale of toxic friendship, the power of childhood imaginations, and how you probably shouldn’t play with a skeleton you find in the woods.

Love in the Time of Gym Class

Presidential Fitness

When we paired up, we always paired up together. History projects, and math exams, and charades by the fence after the bell rang. We weren’t the only girls in our friend group. It was like do and re. There were other notes, sure, but you couldn’t forget the first two.

She held my feet, her hands on top of my dirty Keds. Kneeling in front of me while I faced the ceiling, my elbows out like chicken wings and fingers cupping my ponytail. I waited for the whistle, the gym floor cold under my back.

And when it came, I pulled my stomach muscles in and curled. And curled. My breath left me every time I got to the top. Her eyes crossed on my first rep. She pressed down on my feet, and I felt myself push her away and give in as I completed the circuit again. Her tongue caught between her teeth when I pulled up again. 

My stomach tightened. It was supposed to, though.


We’d done the chin-ups the class before, stood at the end of the line making up lies about presidents doing their own test. “Calvin Coolidge won the presidency because of his mile time,” I said.

“And Rutherford Hayes was stacked, like a log cabin.”

“The B stood for built. I read that.”

“Abraham Lincoln squatted the big blue ox,” she said.

“That was Paul Bunyan,” I said.

“They were lovers,” she said, and again, that peek of tongue between her lips, but suddenly it was my turn. I did a single pull-up and lost my will to continue. She hung like a wet towel from the bar until they told her she could get down. She never wanted to be seen failing. She quit games of chess halfway through when she saw the end game coming. 

“I disappointed our founding fathers,” she said. “I’m a bad patriot.”

I finished my crunches, and we switched positions. Her laces were pink and ridged. From this spot, I could see the line of her gym shirt skimming against her shorts and a half-inch of skin there. 


Once, when we had a sleepover, all of us, do and re and mi and sol, split a bag of Starbursts and dared each other to unwrap them with our tongues. Kissing practice. Sol said she didn’t need to practice on candy, and we gasped for breath, laughing. This boy, that boy. Their names circulated through our melody, breaking up the rhythm for a few weeks. We knew those boys were practice for something bigger. Starbursts were practice for something better, sweeter, we hoped.

All the sex appeal was hypothetical. The wrappers came out wet and waxy and partially torn. I couldn’t use my tongue well enough and resorted to my teeth, and I caught her watching me as I took the paper out between my lips like the worst ATM.

“Gross,” she said, but she smiled. “We should try cherry stems,” she said, but she turned to the room when she said it. “We should try cherries next time.”

Yes, next time, they sang. We sang.


I waited for the whistle. 

What if she crunched up, and I took that tongue in my mouth. If I leaned over her knees and held her there, her back arched up in a vee and my ponytail a mess.

But the whistle blew, and she stayed flat, the only motion her stomach rising and falling. 

The rest of the gym was waves of bodies moving. Heads coming up, going down, until I almost lost my own breath. My own stomach hurt watching her lie there. Lay there. I never knew the difference. It was one of those things where, no matter what I put, it felt right and wrong at the same time. I rewrote the sentence so I never had to use it.

Finally, her head tilted, the arch of her chin tipping toward me. Her glance rested on my face, but she didn’t raise her head from the gym floor. Instead, a slice of tongue appeared between her lips. Pink and soft and soft and pink, I watched until I felt like I needed to salute, to put my hand over my heart and pledge something I didn’t know yet how to give.

Green Day and Olivia Rodrigo Help Me Cope With My Leftover Teen Angst

It was one of my first CDs, Green Day’s American Idiot, that had made me want a guitar. 

I was 10 years old, and already dreaming of sold-out shows and Led Zeppelin tattoos (one of which did find its way to reality). My parents indulged, getting me a Fender Squier for my birthday that year. I strapped it on, plugged it in, turned on the distortion, and strummed. It felt like a tool in my hands, amplifying the volume of a feeling, like a way to shout to the heavens without looking nuts. 

I realized pretty quickly that doing anything with it besides just making noises was going to take some work, so I started up guitar lessons with a plucky old bluesman named Robert and first learned “Smoke on the Water” (as one does), followed by Clapton riff after Clapton riff. 

I recall impatience with the process, a disinterest in pentatonic scales and even the basics of rhythm, really. I wanted to skip to the part where I was sticking it to the man like Billie Joe Armstrong on tunes like “Holiday” and “American Idiot,” shouting at the people in power so loudly and with so much style that they couldn’t argue back. 

I was still a long way from my high school days — which would find me playing a show with a powerviolence band at a communist bookstore in downtown Portland — but I had an eager ear for music with attitude from a young age, and I still find myself dipping into the throes of angsty punk rock on days when it feels like there’s nothing to do about it all but shout. 

I had an eager ear for music with attitude from a young age.

American Idiot came at a time when I was really just discovering music and my own taste. And the eponymous opener felt like it was made in a lab for 10-year-old me — a banging kick drum and ripping guitar riff with an F-bomb in the first 20 seconds? Say no more. 

The vocal highlights between heavier instrumentals made the song ripe for belting in my room, and the lyrics shaking a fist at an unseen authority were right up the alley of a kid entering his angsty years. Armstrong looked and sounded like a guy who did not go to bed on time. 

Welcome to a new kind of tension
All across the alienation 
Everything isn’t meant to be okay 
-“American Idiot”

The album’s lyrics felt like they encapsulated my preteen experience in suburban Portland — giving permission to feeling uncomfortable and not knowing why — while somehow also singing to everyone else across the country who felt like something was wrong they couldn’t put a finger on. 

American Idiot was Green Day’s seventh album, a self-dubbed punk-rock opera about a trio of characters on surreal adventures through their own inner demons. Released in the thick of the Iraq war, it played like a middle finger to the state of American politics over a soundtrack of alternating distorted guitar riffs and lamentful ballads, telling a story of loss and dysfunction that stretched wider than just the war. 

Years later, I admire how honestly these songs sing of the ever-frustrating complacency of being an American citizen — sitting on our hands and going about our day jobs while the political power we are supposed to have a say in pours money out of our communities and into bombing someone else’s.

As a kid, most of that went over my head. 

I tried to pluck along on a guitar and understand what he was saying about the world I was growing up in. Lyrics about the financial boons of war and the twisted manipulation of patriotism felt like bite-sized moments of understanding. But the lyrics about being misunderstood and unheard, and the anger in those words — that felt visceral and relatable. 

I fell asleep while watching Spike TV 
After ten cups of coffee and you’re still not here 
Dreamin’ of a song, but somethin’ went wrong 
And you can’t tell anyone ’cause no one’s here 
-“Homecoming”

Though as well as Green Day does adolescent anger on this album, I think the really indelible songwriting lies in some of its softer numbers. 

One of the album’s most ubiquitous tracks, “Wake Me Up When September Ends,” written about the death of Armstrong’s father, expresses a desire to fast forward through grief. “Give Me Novacaine” sings of a similar yearning for numbness. 

Time feels like an unpredictable tool on these songs, with Armstrong wielding and being threatened by it in equal parts throughout the album. It’s used to cope, justify emotion, or just skip the most painful parts entirely. 

I can’t take this feeling anymore 
Drain the pressure from the swelling 
This sensation’s overwhelming 
Give me a long kiss goodnight 
And everything’ll be alright 
Tell me that I won’t feel a thing 
-“Give Me Novacaine”

At 10, those concepts felt like an emotional depth I couldn’t yet reach or understand, reading as novelty filler from a band I was looking to as a head-banging outlet for fighting the power (or at least yelling at it). For them to have such sad, vulnerable feelings in the same space felt strange. 

But as I’ve grown, these are feelings I understand more with each passing year. I have learned intimately in the interim decades how natural it is that grief is intermingled with feelings of anger and confusion. And as my 20s have waned, I have found the concept of sleeping through the worst of things a more and more relatable concept. 

For them to have such sad, vulnerable feelings in the same space felt strange.

Which tells us what makes this album, or any piece of music, stand up to the weathering of time: I have found that different parts of it speak to me as the years go by and I mature, but it has never felt irrelevant.

This music ages like a grudge, a testament to the timelessness of angst. Bands like Green Day, Paramore, and blink-182 continue to tour, decades removed from some of the high school drama they still sing about on the hits. And new young artists have followed in their footsteps — most notably and gracefully, Olivia Rodrigo. 

In the multi-generational opera about the death of the American Dream and the forever tragedy of growing up, Green Day plays the uncle who is so cool that you almost start to believe him when his beer-driven tirades dip into political conspiracy. Meanwhile, Rodrigo plays the younger sister who is more talented and smarter than you ever were at that age, up to speed in equal parts on fashion and which senator voted to increase military spending last week. 

There are incongruencies in the sounds of their respective eras, but it feels like Rodrigo has added a missing harmony to the lexicon of American angst. To hear her work in playlists alongside those who were angry and young before her is to create a more full symphony on the terrors of living in a place where it feels like you have no say — big or small, in love or war. Despite aging into it decades apart, Green Day and Rodrigo both speak to a society that is fundamentally dysfunctional, and just a hard fucking place to be an adolescent. 

Rodrigo’s second LP, GUTS, tells the story of a woman growing up in 21st-century America, chock full of fuck-yous to the patriarchy and mourning of the lies we tell ourselves every day. Musically diverse, she alternates between an early 2000s pop punk sound and the morose lyrical songwriting that has swept folk and indie in the 2010s — somehow holding hands with the angry millennials and the resigned Gen-Zers simultaneously. 

I first came upon Rodrigo when the video for “drivers license” was released in 2021. I was taken with the songwriting, but maybe even more wrapped up in the layers of her influences. I could hear Lorde in her instrumentation, a dash of Phoebe Bridgers’s wittiness in her lyrics, and — when her louder singles came out — Paramore’s Hayley Williams in her presence as a frontwoman. It felt like seeing the Power Rangers turn into that big mechanized dude made up of all the little robot bits. 

For the first time, I felt like the musicians I listened to growing up were the influence rather than the influenced. The phenomenon was akin to the realization your parents are real people or watching the athletes you once idolized begin to retire — a definitive moment of aging.

It’s a strange feeling to watch someone younger than you pick up the pieces your generation left scattered around — be it music, politics or technology — and explore them with the kind of curiosity that breeds innovation. Watching Rodrigo’s sound and career progress almost reassures, one of those welcome signs that there is still work to be done but that not everything that came before was wrong, or meant to be forgotten. 

And despite Rodrigo, having been born just a year before American Idiot was released, I hear Green Day in her work too. 

She sings eloquently about the ways we lie to ourselves to get through the day, month, or year.

“all-american bitch” kicks off GUTS with the same fanfare as “American Idiot.” The melodic dissonance between the chorus and verses mirrors the tone of the lyrics — a cutting satire dripping with venom. It’s a boppy fuck-you (a sound becoming her decadent bread and butter) to a world that’s asking her to be more things than any one person is capable of. 

When she sings “I got class and integrity, just like a goddamn Kennedy” you can feel the frustration seeping out of her pores. The tone is perfect for the song, the album, and for this moment. There’s more said in what you can tell she’s holding back than in what she actually sings — reinforced as the closing lyrics “I’m grateful all the time” are echoed in chaotic grace with a choral harmony singing “Grateful all the fucking time.” 

GUTS tells the personal side of the macropolitical commentary of American Idiot, blasting the societal structure Rodrigo lives within as a woman, particularly at her age. She sings eloquently about the ways we lie to ourselves to get through the day, month, or year, and the faces we put on for others to get where we’re going — or just to feel safe. 

And I am built like a mother and a total machine 
I feel for your every little issue, I know just what you mean 
And I make light of the darkness 
I’ve got sun in my motherfuckin’ pocket, best believe 
-“all-american bitch”

The album casts a wide net with universal stories of anger and sadness but, like in American Idiot, also a self-loathing that feels uniquely American and uniquely adolescent.

To sit fireside with Rodrigo as she spirals on songs like this is to vividly relive the everyday anxiety of being a teenager — wanting the world to fit more cleanly around you while not being able to pinpoint or articulate how to make that happen. She conveys the overwhelming hormonally charged chaos of that time of life in a way that anyone who has ever been sixteen years old should empathize with. 

And I bought all the clothes that they told me to buy 
I chased some dumb ideal my whole fucking life 
And none of it matters, and none of it ends 
You just feel like shit over and over again 
-“pretty isn’t pretty”

The enduring hook in these albums is Rodrigo and Green Day’s ability to deftly conjure up simultaneous feelings of wistfulness and dread, from the first notes giving the listener a window back to what was at-once a simpler time but also a time that none of us would wish to relive. 

Both artists ask us to look at the world through the eyes of someone just discovering how unfair it really is — before we got used to it and started to accept the status quo where it served us. Far removed from the grips of high school and the thick of adolescent angst, it’s easy to forget how jarring some of this was as a young person just starting to fend for themself. Should it really be this hard? 

I now hear the same indignation in Rodrigo’s voice that I felt at her age.

To compare these albums, made nearly two decades apart, is to get a glimpse at a sameness we often forget in squabbles about which generation messed up more. There are plenty of people of all ages looking for change, but the benefit of youth is having the energy to be loud about it, to write about it, to sing songs about it that are heard on stages and speakers for decades to come. There is proof in your local record store that every generation has been pissed off enough about something to write a song about it — and if that is all that ties us together, it seems like a pretty good starting point.

Both American Idiot and GUTS came out in periods of social and political climate marked by doom, gloom, and a reasonable dose of existential dread. They represent the mood of an era that is starting to seem like forever — powerless rage coupled with the day-to-day slog of barely containing it. 

I now hear the same indignation in Rodrigo’s voice that I felt at her age. I hear someone who watches a world they feel powerless to affect continuing on a crash-course trajectory that has been predetermined for decades. I hear someone who isn’t being listened to, as she closes GUTS with the heart-wrenching “teenage dream.”

When am I gonna stop being wise beyond my years and just start being wise?
When am I gonna stop being a pretty young thing to guys? 
When am I gonna stop being great for my age and just start being good?
-“teenage dream” 

It’s the same indignation that equips Green Day to effortlessly pivot from songs about burning out to songs about war. I hear the frustration throughout American Idiot of someone finding themselves, and simultaneously finding out that the world around them doesn’t seem to care or want to listen. It’s a teenage masterpiece: there’s rage, there’s apathy, and there’s the beautifully youthful dream that the world will change before I do. 

And there’s nothin’ wrong with me 
This is how I’m supposed to be 
In a land of make-believe 
That don’t believe in me 
-“Jesus of Suburbia”

My dad said once to my sister — 19 at the time — during the tumultuous summer of 2020 that he “remembered being young and angry,” in a way that suggested she’d grow out of it. And maybe it’s true that we get a little more tired with age, but I think we always carry some part of that adolescent angst with us: yearning for a better world but unsure where to start, pretending to be someone we aren’t just to get a foot in the door, angry at being misunderstood when no one was listening in the first place.

7 Small-Town Mysteries Full of Secrets and Suspense

What is so compelling about a small-town mystery? These cosy, idyllic places seem more likely to be featured in a Hallmark movie than in an episode of Crime Junkie. Small communities, mom-and-pop stores, quirky traditions, and usually located far enough off the beaten track to make visitors feel like they’ve escaped the hustle and bustle of everyday life. Sounds like a dreamy weekend getaway with the girls, or the picturesque backdrop to a lovers’ retreat, right?

Of course, it’s exactly these things that make small towns the perfect setting for deliciously creepy mysteries or terribly wicked crimes—what better place to set a suspenseful story than in a remote location where the locals keep a close eye on newcomers, everyone knows each other’s business, and they’re all hiding a few unnerving customs and rituals?

In my debut novel, The Wolf Tree, the tiny island of Eilean Eadar isn’t appearing on any must staylists; thrown way off the west coast of Scotland, battered by storms and ravaged by the elements, and largely forgotten by the mainland, this island and its people know how harsh life can be—and how harsh they have to be to survive. But the outside world comes knocking when a local teenager is found dead at the base of the island’s decommissioned lighthouse—a landmark steeped in infamy due to the disappearance of its final three keepers more than a century earlier—and DIs Georgina Lennox and Richard Stewart are dispatched from Glasgow to investigate.In classic small-town suspense fashion, George and Richie must race against a ticking clock to discover what secrets lie beneath the rugged beauty of Eilean Eadar – and hopefully solve not one, but two mysteries. 

Here are 7 suspenseful books set in small towns, because when everyone knows everyone, secrets are hard to keep, and trust becomes a dangerous game. These seemingly idyllic places—where gossip spreads like wildfire—are perfect breeding grounds for shocking betrayals, unexpected twists, and chilling revelations. 

Dirt Creek by Hayley Scrivenor

When twelve-year-old Esther vanishes on her walk home from school in a small, close-knit town in rural Australia, the community is thrust into a whirlwind of suspicion and sorrow. Detective Sergeant Sarah Michaels arrives to investigate during the hottest spring in decades, while Esther’s best friend, Ronnie, is determined to find her. And as the story unravels, it seems like everyone in town is hiding something about what really happened to Esther.

Stillwater by Melissa Lenhardt

Former FBI agent Jack McBride relocates with his teenage son to Stillwater, Texas – an attempt to escape suspicions surrounding his wife’s disappearance. Expecting a quiet job as Chief of Police in a low-crime town, Jack instead finds himself investigating a staged murder-suicide and a decades-old skeleton, sparking the first crime wave in thirty years. He seeks help from a respected local with a scandalous past, and as they grow closer despite town disapproval, the pair uncover deep, interlinked secrets from both cases that have the potential to devastate the town.

Sharp Objects by Gillian Flynn

After a brief stint in a psychiatric hospital, reporter Camille Preaker is handed a daunting assignment: she must return to her small hometown to report on the unsolved murder of a young girl and the disappearance of another. Camille hasn’t been home in years, and has had very little contact with her neurotic, hypochondriac mother and her enigmatic and beautiful thirteen-year-old half-sister. Staying in her old room in her family’s Victorian mansion, Camille must piece together her own psychological puzzle if she is to uncover the truth about what is happening to the young women in her home town.

Listen for the Lie by  Amy Tintera

Best friends Lucy and Savvy were once the shining stars of their small Texas town; but everything changed in an instant when Lucy was found wandering the streets covered in Savvy’s blood. Years later, and with no memory of that night and having started anew in LA, Lucy is drawn back home because a true crime podcast, Listen for the Lie, plans to investigate Savvy’s murder. With a charismatic host at the helm, Lucy must confront her past to uncover the truth about her friend’s death … even if it means discovering her own guilt.

Scrublands by Chris Hammer

In the drought-stricken Australian town of Riversend, a young priest’s shocking act of violence leaves five parishioners dead. A year later, journalist Martin Scarsden arrives to investigate the tragedy’s anniversary. As he delves into the town’s secrets, Martin discovers discrepancies in the accepted narrative and faces a new, sensational development that thrusts him into the national spotlight. Battling his own demons, Martin risks everything to uncover a darker, more complex truth, while powerful forces work to keep the town’s secrets buried.

All The Missing Girls by Megan Miranda

Ten years after her best friend Corinne vanished without a trace, Nicolette Farrell returns to her rural hometown to care for her ailing father, only to find herself entangled in the unresolved mystery. The old investigation, which scrutinised Nic and her inner circle, resurfaces with new urgency when Annaleise, Nic’s younger neighbor and alibi from the night Corinne disappeared, also goes missing. Narrated in reverse from the day Annaleise vanishes, Nic’s quest to uncover the truth exposes startling revelations about her family, friends, and the real events of that fateful night a decade ago.

The Dry by Jane Harper

In the midst of a terrible drought in rural Australia, Federal Agent Aaron Falk is summoned to his hometown for the first time in decades to attend the funeral of his best friend, Luke. Two decades earlier, Luke provided Aaron with an alibi when Aaron was accused of a terrible crime. But now, more than one person knows that this alibi was a lie, and Luke is dead. With the help of a local detective, Aaron questions what really happened to Luke – which stirs up secrets that have haunted the community since Aaron left town.

Why Doesn’t BookTok Think Plot Is Hot?

Last year, burned out from going straight into a full-time lectureship after a pandemic PhD, I needed the kind of intellectual rest that only one thing brings: re-reading an old favorite novel.  For me, that was Anne Bishop’s Black Jewels Trilogy, the fantasy series that got me through my teenage angst.

My dilapidated 2003 paperback omnibus edition sports an illustration of a black-scaled dragon on the cover. Going by this aesthetic, you would be forgiven for thinking it’s some classic Lord of the Rings-esque adventure fantasy. In reality, the generic design hides both an erotic and dark story – and I mean several-trigger-warnings dark. “Not for the faint of heart” according to several Amazon reviews, it is about a morally bankrupt, violent society; magic that can cost you your sanity if not channelled correctly through jewels; corrupt Queens and “their males” who dominate and terrify; and three anti-heroes who have vowed to serve the all-powerful Witch destined to set the realm to rights. There is a love story in there, but this series is hardly a romance: it’s about how, when sexuality is purely a matter of having power over others, we lose something central to being alive. The storyline embraces the dark and imperfect aspects of our interiorities as creative forces for good or ill.

Parallels have been drawn between the Black Jewels Trilogy (BJT) and the wildly popular A Court of Thorns and Roses (ACOTAR) by Sarah J. Maas, the latter of which is credited with inaugurating the current wave of Romantasy taking over the perfectly curated bookshelves of BookTok. In case you have been living under a rock, the five-book story follows Feyre Archeron, a mortal who becomes entangled in the world of the Fae when she accidentally kills one. In subsequent books, Feyre discovers her immense powers and faces various ancient threats with the help of the enigmatic, protective and frequently snarling MMC (male main character) Rhysand, a High Fae. I won’t rehash the similarities between its main male characters and those of the BJT, which can be found detailed on Reddit (the most blatant being the race of winged “Illyrians” in ACOTAR, who explicitly mirror the “Eyriens” in BJT). But what I do want to discuss is how surprisingly unlike one another these two series are, despite the surface parallels. 

Taking the creative potential of the fantasy genre as an opportunity to reimagine how gender, the psyche, and ecology could work, the eroticism of BJT is deeply linked to the frightening yet seductive vulnerability of mind, body, and nature itself. Like all the best fantasy, it pairs the author’s own unique take on compelling storytelling with capturing truths about our own world in a new light. In ACOTAR, however, I found no such depths. Though I more or less enjoyed the series, this lack of complexity in the storyline and perfection of its protagonists made me at times lose track of what was happening. There is little character development throughout: Feyre is, impossibly, fierce yet soft, cunning yet moral, sexy yet innocent, self-assured yet self-sacrificing from the start. Rhysand enjoys some light BDSM and makes some dubious choices, but that alone isn’t enough to make him a layered character. I was, truth be told, a few pages into the fourth book before realising I’d accidentally skipped the third and had to go back.

I then moved on to Fourth Wing by Rebecca Yarros. At this point I was growing motivated by the prospect of better understanding what people in their late teens were reading, given many of the students in my university courses on postcolonial literature seemed to struggle with novel-length reading assignments. After all, my own love of YA and genre fiction had eventually led to three English degrees; I just wanted to know they were reading something that fed their imagination and their literacy (even if it wasn’t Chinua Achebe’s Things Fall Apart).  But Fourth Wing, too, left me feeling underwhelmed by yet another too-perfect, all-powerful heroine; the constantly high-strung character interactions; love interests that are immediately obvious (largely through angry exchanges); and sexual tension that barely has time to unfold before being sated.

Surely supernatural worlds could give us greater freedom to experiment with how beauty, attraction, and desire could work. 

Two authors does not a genre make, so I decided to give the five-book Romantasy series From Blood and Ash by Jennifer L. Armentrout a chance. This had an entertaining blend of known tropes around vampire and werewolf tales, but our male anti-hero is, once again, enigmatic, protective and snarling, and our heroine Poppy Balfour is, once again, a perfect blend of strong-yet-vulnerable – that is, a very socially acceptable kind of “feminine.” By now, I was also noticing the consistently “porcelain” complexion and blonde/red/chestnut hair of all our heroines, and the consistently olive/brown complexions and black hair of all our male leads. It’s difficult not to see parallels here with recent research findings on race and desirability (biracial men with medium skin tones are apparently found highly desirable by everyone, while Black women get the fewest responses on dating apps). Surely supernatural worlds could give us greater freedom to experiment with how beauty, attraction, and desire could work. 

Fantasy – whether featuring the sub-genre qualifiers of ‘romantic,” “dark,” “high” or “young/new adult” – can certainly aim to be a fun read. But depth does not come at the expense of enjoyment; in fact, if “reading for fun” is about reading that which grips your imagination and steals you away from the mundane everyday, then a compelling level of human and world complexity is vital. On this, contemporary Romantasy is falling short of its Fantasy forerunners. Its author aside, there are nuggets of insight on how we deal with love and death in Harry Potter that spoke to millions around the globe at the turn of the millennium. There was something particularly relatable about the brutal realpolitik of A Song of Ice and Fire in a post-2008 financial crisis world, and the number of people shipping Galadriel/Sauron in The Rings of Power shows how Tolkien turned the question of evil in his Lord of the Rings universe way more interesting when he made it take the form of what we covet. 

This matter of desire can drive depth in plot, character and world-building. When reading Romantasy, a focus on romance and sex is to be expected. But what my foray into BookTok Romantasy had done, I realized, was somehow give me both without morally, philosophically, politically and socially rich worlds around it and, in doing so, left me frustrated – and not in a toe-curling way. In addition to keeping to largely conventional markers of attractiveness for characters, there are only so many times the mechanics of heterosexual coupling can be described before it starts to become just another day. The reader encounters at least ten highly detailed sex scenes in ACOTAR, with some noting that the especially graphic nature of the fifth installment, A Court of Silver Flames, veers decidedly out of the parameters of YA. Fourth Wing has at least four detailed, long sex scenes packed into it, which might not feel like so many if the book wasn’t  perpetually fixated on the build up to and transition between them. Amidst some incidental dragon-flying, there is snarling jealousy at the thought of the other having sex, will-they-won’t-they banter about having sex, and build up to possibly having sex later. And yet this over-focus on sex acts leaves very little room for the erotic.

According to BookToker delayjaye, one of the first things asked in comments under her book recommendation videos is, “is it spicy?” In BookTok parlance, “spice” level – sometimes indicated by one to five chilli pepper emojis – is an important factor in whether or not many will pick up a Romantasy novel. In “one chilli” books, delayjaye argues, “it’s the plot that really matters.” At three chillies, we are apparently still “adding a spark without overpowering the story” (A Court of Silver Flames falls under a mere three chillies, with 53 of its 768 pages being purely descriptive sex acts, not inclusive of any set-up or aftermath). Youtuber Honest Fiction, whose spice-ranking system goes from “Mild” to “FIRE,” describes the latter ranking as “more spice than story.” Erotica is an age-old genre, and it will always exist. The more interesting observation emerging here is that a reading culture has come about that does not question its self-designated division between “spice” and “story.” How did we end up with an x-axis in our heads that runs from “plot” on one end, to “hot” on the other, and never the twain shall meet? 

A Goodreads forum titled “Just BookTok Stuff” reflects this new dichotomy. “I usually avoid books with sexual stuff. And if by chance I was reading a book that’s got sexual parts I’ll just skip it,” writes Rori. “I love books with spiceness [sic] because while clean books are precious, I feel like they’re not as realistic,” Alys counters. Another user called Cassidy writes “Tension > explicit spice,”  in response to both the enthusiasts and the haters. This short but sweet comment actually comes close to hinting that when “plot” is deemed the opposite of “spice,” contemporary Romantasy can miss the wood for the trees. 

To put compelling storytelling on one end of the spectrum and ‘spice’ on the other fundamentally misunderstands ‘plot’ as ‘everything but sex.’

Georges Bataille situates eroticism within a tension between the sacred and the profane, as a breaking of boundaries and taboos. For Jacques Lacan, eroticism in literature exposes the tension between desire and its fulfilment, often highlighting the perpetual deferral of satisfaction; a gap which, for Michel Foucault, is often shaped by regimes of power. Literary critics like Roland Barthes add that the literary erotic invites the reader to participate imaginatively, blurring the boundaries between text and self. Reading fiction upwards of 500-pages is an altogether different experiential choice than, say, watching a 3-minute porn clip, precisely because of these phenomenological, existential, political and aesthetic aspects to the erotic. These unfold only through the kind of contextualization that can occur when sexual desire (whether fulfilled or unfulfilled, “explicit spice” or just “tension”), experienced by imperfect beings, is narrativized within a wider world of social norms, taboos, systems, gender roles, and other hierarchies. Hot is only hot when surrounded by the context of what makes it hot. 

Context, which must be fully realised even or perhaps especially in the Fantasy genre (given the reader’s initial unfamiliarity with the author’s imaginary world), turns fleeting sexual desire, which can evaporate with a single intrusive thought, into a sustained kind of eroticism that is bound up with a world and the stakes of that world. Context determines whether desire is transgressive, unexpected, long-delayed, unforeseen, forbidden, subversive, gratifying, comforting, exciting, fortuitous, refreshing, consoling, or thrilling, rather than a mere bodily urge fulfilled through mechanical acts one could describe for pages and pages. Let’s say I tell you to imagine a scene where an attractive man and an attractive woman (other genders and preferences are available) are getting it on. Then I give you the same but within conditions that make it totally unexpected, long-denied, or unlikely, and in some way directly in conflict to the individual goals of the characters or the realization of their storyline thus far. Do we really want him to jump her then and there, obstacles be damned, or to hold off until we are squirming with the dilemmas, good or bad, that delayed gratification shall visit upon both the story and the characters?

To put compelling storytelling on one end of the spectrum and “spice” on the other fundamentally misunderstands “plot” as “everything but sex.” This actually does a massive disservice even to readers who are expressly looking for “spice,” because it ignores the art of storytelling as a key aspect of erotic genres. Eroticism in literature lies in the interplay of absence and presence – what you gain and what you lose when you desire – which is why it is not interchangeable with a non-narrative, passive, and non-imaginative activity like watching a 3-minute porn clip. But nor does it emerge (just by virtue of being textual rather than audiovisual) when a sex act is merely transcribed onto paper. 

Tension in plot is more than just a tool to defer sexual gratification. It serves to heighten stakes in storytelling, particularly when characters navigate social or moral boundaries. Certain Fantasy novels manage to integrate this tension effectively without relying on explicitness to evoke similar responses. Take Trudi Canavan’s The Black Magician Trilogy, for instance. The eventual romantic couple are, individually, characters we’ve known since the first few chapters of the entire trilogy. They have a minor association until the gradual building of tension through social, moral, and situational barriers brings about a mutual attraction that is so memorable because it breaks Bataille’s sacred-profane dichotomy of class structures, which frame their social roles. Their eventual union becomes not merely satisfying as an end to sexual tension, but a culmination of layered emotional and moral stakes. Similarly with Jacqueline Carey’s Phèdre Trilogy, where the protagonist must turn the vulnerability of desire into agency in a world where her social position calls for the use of pleasure as a tool for negotiation, political subversion, and survival. Carey’s lush prose and sensuous world-building invite the reader into an intimate engagement with the text, echoing Barthes’ idea of the literary erotic as a participatory experience beyond any sex acts that may or may not be explicitly described.

Eroticism risks objectification as it strives for mutual recognition, and risks the dissolution of the self as it seeks to incorporate that which is other, without arriving at the end of the erotic – total possession. As Bishop, Canavan, and Carey show, it doesn’t necessarily need to equal tension that is never sated. But it cannot be disconnected from the moral, political and ontological stakes of desire. A touch is just a touch, a body just a body, unless it is part of wider social and psychic challenges that imbue it with consequence. If Romantasy can let go of its “plot versus hot” divide, it might just smolder in its reader’s imagination long after the final page.

8 Contemporary Novels with Omniscient Narrators 

The omniscient, intrusive narrative voice was common to many novels dating to and before the early 1900s: the sweeping perspective of a narrator who functions almost as a god, able to show us anything—and who often interrupts the story at hand to make wry comments at the expense of the characters and the society in which they function.

I took on such a voice for my second novel, Mutual Interest—from the very beginning the style felt like a natural fit for this book, a queer pastiche of these classic “novels of manners,” set at the turn of the twentieth century. I found this type of writing to be an instant joy: I loved having the freedom to dive into secondary characters’ heads (muddying the question of whether they were, in fact, secondary); I loved having unlimited scope and scale for what counted as “backstory;” I loved the sense of playful conspiracy such a voice cultivates with the reader, and the opportunity to express both mockery and affection for my characters. 

As so often happens, I also found that this craft choice raised new questions; questions that have deepened and changed my relationship to the omniscient narration wherever I encounter it. Questions like: Where does the book begin and end—that is, what defines the shape and limits of the story, when they’re not inherent to the point of view? What does “all-knowing” really mean? How does an omniscient narrator decide when to interrupt the action (and when to shut up)? And, last but not least: who, exactly, is talking? (And does it matter?)

Having had to tackle these questions in my own novel, I am now even more interested in how other authors have answered them. Here are 8 contemporary novels that use omniscient narrators in a fascinating way:

Say Hello to My Little Friend by Jennine Capó Crucet

Jennine Capó Crucet’s Say Hello to My Little Friend defies reductive description, but one of its many pleasures is its all-knowing, even elemental, narrator. I have heard Crucet describe it as a voice that “can go anywhere water can go”—a fascinating way to define the limits of omniscience, without in fact limiting it much at all (especially in Miami, at this late stage of climate change). 

Crucet’s protagonist, Izzy, is experiencing what he sees as a very individual struggle. But from the reader’s perspective—and the narrator’s, and Lolita the orca whale’s as she swims in her cramped tank at the Miami Seaquarium—everything is connected, and there is no scale but the global. Crucet takes partial inspiration from Moby-Dick and uses some of Melville’s same techniques—including cataloging and digressions—to create a unique and thorough history of a place both doomed and thriving, depending on your perspective(s). This is a book that reads like a flood, one sweeping its characters along, some of them more aware than others of the currents through which they swim. 

Housemates by Emma Copley Eisenberg

The narrator of Emma Copley Eisenberg’s Housemates is a queer elder, recently bereaved, who begins by eavesdropping on the novel’s main characters in a coffeeshop—and who, when the protagonists return home and close the door, literally melts through the wall of their house and continues narrating, both the forward action and both their backstories. She does return in scene, late in the book, but for the most part—and starting long before she ever meets them—her role is to tell Leah and Bernie’s love story. 

This device is catnip for those of us interested in experiments with omniscience. I was fascinated by how this one speculative element complicated Eisenberg’s novel, adding the layer of an interstitial eye, witnessing and interpreting. The fantastically omniscient narration lets the story be strange and familiar at once, told by someone who is both an ancestor and a stranger, and it lends a sense of jaded retrospection to what is also quite a youthful bildungsroman—a poignant combination. Perhaps especially in this novel of queer community, Eisenberg’s unique narrative voice draws attention to the way different generations can be simultaneously awed and inspired by as well as jealous or judgmental of one another. 

Too Like the Lightning by Ada Palmer

This first book of Ada Palmer’s Terra Ignota quartet is as much philosophical thought experiment as it is science-fiction epic, including in its narrative voice. Palmer writes in a self-consciously neo-Enlightenment style, matching her far-future setting in which a utopian (or is it?) Earth has reorganized its society around the aesthetics and ideas of the eighteenth century. 

The narrator of Too Like the Lightning is in fact not omniscient, merely overambitious and highly unreliable—but Palmer invites the reader to interrogate the difference, if there is one. 

Mycroft Canner, a convicted criminal living out his life in service to whoever may need him, prostrates himself before an imagined in-universe reader he addresses directly in frequent, often argumentative asides. It is Mycroft who affects the high-omniscient style in which Palmer writes, and though the book is theoretically his memoir, he often narrates scenes for which he was not present—some he claims to have heard summarized by characters who were present; some he imagines, wholesale; for others, muddying the stylistic waters still further, he passes the pen to secondary (often reluctant) narrators. 

This is a novel of big swings, one that will give any book club enough to argue over for hours. I can’t promise the intrusive, patchily omniscient style will be at the top of your list of controversies to litigate, but hey—it depends on your crew! 

The Enchanted April by Elizabeth von Arnim

Written in 1922, The Enchanted April is an outlier on this largely contemporary list. Its omniscience may also be less remarkable, given the style of the time. But the novel—which follows a foursome of barely-acquainted Englishwomen, rife with interpersonal conflicts, as they economize on their Italian vacation by sharing accommodation—feels strikingly modern, and Elizabeth von Arnim’s unique use of fizzy omniscient narration is certainly part of this feeling. She dives deep into the judgmental interiority of each of her protagonists, whipping up tension, affection, and biting social satire at once. 

In her comic treatment of the form, Von Arnim also makes glib, masterful use of one of the omniscient narrator’s most astounding powers: withholding information. I will never forget my experience of reading this book for the first time and, at a crucially dramatic moment, being slapped with the sentence: “What Mrs. Fisher said to him that morning in her first shock will never be known.” I physically put the book down and exclaimed aloud, “Why not?!” There is an immersive pleasure in being toyed with, alongside the characters, by such a narrator. 

The Fraud by Zadie Smith

In The Fraud’s opening pages, Zadie Smith’s omniscient narrator gives us equal access to the perspectives of two characters conversing across an 1837 London threshold. Having established that such certain and thorough understanding is possible, the narrator then withdraws somewhat, conspicuously declining to extend such bridges of perspective for large sections of the book. But Smith continues to tantalize with glimpses of an omniscient “ultimate reality” in this novel of authenticity and fakery, truth and imposture, rendered in prose that gestures stylistically toward its nineteenth-century literary setting (and therefore is often at least flirting with omniscience). 

Most characters in The Fraud flatter themselves that they alone “see all” and struggle to make themselves understood, advocating for individual versions of the truth that seem at times irreconcilable, at others so universally accepted as to be unconscious—“everywhere, like weather.” Smith is interested in how “ultimate” reality in fact varies by perspective, and even her narrator is not unbiased. 

This is omniscience made visible in its frustration: a novel in which each person is “a bottomless thing,” living by a kind of internal narration that functions as “[their] discreet, ironic and yet absolute God.” 

Ragtime by E. L. Doctorow

Ragtime is so memorably epic in scope and scale that I’m always surprised to find, picking it up again, that it’s only about 250 pages long. But that’s one thing about high omniscience, used the way Doctorow employs it: it can save you a lot of time. Here, those 250 pages are sufficient to cover a decade in the lives of three wildly different and complexly interwoven families, with a plot that covers just about anything you could think of, including a plot to blow up the Morgan Library and an expedition to the North Pole. 

Ragtime’s narrative voice calls to mind a god operating a busy telephone switchboard, or perhaps pointing out local sites of interest while motoring down the highway at 90 miles an hour. The modern reader might recognize a tinge of Forrest Gump, with historic figures like Harry Houdini, Booker T. Washington, and Emma Goldman coming into unlikely contact with Doctorow’s fictional cast. But a narrator this confident can render anything realistic—even including one character’s intermittent psychic visions of the future. 

This is a book with a ten-thousand-foot view and a breakneck pace; omniscient narration at its most soaring and showboating. Doctorow’s pleasure in the writing is palpable and often contagious.

North Woods by Daniel Mason

This may be verging on a subgenere, something we might call “collage omniscience:” the accumulation of an all-knowing perspective (the book’s; the reader’s) through the presentation of many individual perspectives. (Once you start thinking along these lines—possibly I should say, once you start fudging the rules—the possibilities are endless.) 

I have found that many novels of this type, like Daniel Mason’s North Woods, are portraits of a place or a community, with a breadth of perspective over time. (Graveyard ghosts and archival research are also recurrent themes.) This novel tells the history of a single house in New England, spanning centuries, from the settlement of the American colonies to the present day (and beyond). 

There is almost a journalistic gesture towards “objectivity” here—no sign of those catty, intrusive asides from a god-narrator laughing at the characters’ foibles (though the reader may find occasional cause to do so). Mason is almost relentless in his refusal to put up boundaries around his bricolage narrative—the scale here is meant to impress, even to frighten, as ghosts stack generation upon generation and begin to crowd each other for room. This is omniscience as haunting, and being haunted; omniscience as a duty to bear witness. 

Less by Andrew Sean Greer

It’s clear from the first page of Andrew Sean Greer’s Less that the omniscient voice is central to the novel. We hear the story from a teasing, cheeky, highly intrusive narrator—full of obvious affection for protagonist Arthur Less, but just as obviously maddened by Less’s flaws and foibles. 

As the book progresses, though, the question of who, exactly, is talking becomes more and more impossible to ignore. Tossed-in first-person asides referencing in-universe interactions with Less feel at first like they’re in fizzy, startling conversation with those omniscient narrators of bygone centuries who might intermittently use the royal “we” and log their opinions on the characters’ decisions. 

Over time, things develop in a different direction.

Reading Less for the first time, it begins to feel like Greer is engaged in a craft experiment, then a very unique type of mystery novel—and finally (at the risk of spoiling the surprise) what we realize to be a truly unique po-mo rom-com. 

My reading and writing interests of the last several years have led me to see all omniscient narration as an expression of love, and for this case, Less may be Exhibit A. 

“Loca” is A Year in the Lives of Dominican Immigrants in 1999 New York

Like many of the characters in author Alejandro Heredia’s debut novel, Loca, he migrated to the United States from the Dominican Republic. Though he did so at a different age and time than the characters presented in the text, it’s the experiences of the lives of immigrants—his own and the people he knows—that he both excavates and explores to craft a capacious novel that unfolds over one year in 1999. Centered on best friends, Sal and Charo, the novel—moving between New York and the Dominican Republic, the Bronx and Santo Domingo—follows their lives, and the community they  are both equally born into, and create, asking questions that investigate the tolls of immigration, the nuances of sexuality and gender, and the meaning of friendship. 

Is it possible to be better to the people we love? Is it okay to need people? Is it necessary to reckon with the past to have a chance at a future? With an open heart, Loca provides a cross-cultural representation of characters weighed down by the prospect of possibility while also providing sharp snapshots—Latin dance parties, beach trips to Montauk, fire escape conversations—that enable them to survive.

As New York City quieted in the waning weeks of 2024, I spoke with Alejandro Heredia about Loca and the expansive ways it considers identity, loneliness, and atonement. 


Jared Jackson: You were born in the Dominican Republic. How long did you live there before migrating to the United States?

Alejandro Heredia: I lived there until I was seven. I lived with my grandparents because my parents migrated to the United States, to New York, and to the Bronx, specifically, when I was eight or nine months old. I remember meeting my parents when I was seven, which was an interesting experience.

JJ: Do you remember your first impressions of the United States when you arrived in New York?

AH: I was disappointed when I got to the United States because when you’re in the Dominican Republic you see a lot of images of New York on Dominican television. There’s a machine, which probably still exists, though it might be different now, that sells New York to the Dominican population. In fact, in the late ‘80s and early ‘90s, there used to be commercials to entice people to migrate to New York. All I knew was the tall, beautiful buildings. Lots of shopping centers and stores and people walking around everywhere. When I got here, I was like, what is the Bronx? Why does it look like this? I thought I was going to be in a fancy tower somewhere.

One of the most important or impressionable things I remember about that time, outside of meeting my parents, was learning English. Seven is a particular age. I learned English fast. In eight months, I was speaking with my cousins in a mashed-up English, or what I could make of it. But I was speaking and listening and understanding it. Learning English was a form of survival because the Bronx in the early 2000s was a tough place to grow up in.

I remember the first thing I said in English was in my first week of school. My friends were hanging out and there was this other kid across the cafeteria who was looking at me. And my friends pointed to him and told me to say to him, “What are you looking at?” And so that’s what I yelled. I didn’t know what I was saying, but to me, that moment is telling because I keep asking myself that question. What was I looking at when I came to this country? I most remember paying attention to the way that people spoke. I grew up around a lot of bilingual kids. There were words I was trying to understand in translation. All to say that I had to pay a lot of attention to language to survive the environment that I arrived at in the United States.

JJ:  I’m going to circle back to language. But I want to ask about the novel’s backdrop. It takes place over one year in 1999 and, as you write, “Everyone is existential.” It’s an interesting year. There’s the Y2K scare, the premiere of the Sopranos, Nelson Mandela steps down as the first Black president of South Africa. Why did you decide to set the novel in this particular year? 

AH: I had questions about my parents’ generation of Dominican immigrants who came to the United States in the mid-90s. I was also curious about what it was like to date then. To explore relationships before the cell phone was a popular item. 

1999 was a turning point. People were thinking about the turn of the century and what the future might or might not look like. The characters in the novel have a particular relationship to the future. Sal is always looking toward the future without necessarily looking back. With these characters, I wanted to explore this tense relationship with the future in a moment where everyone is, as I say, feeling existential about what’s coming, what society might look like, and what our individual and collective lives might look like. 

JJ:  You mentioned imagining what it might have been like when your parents migrated to New York. Early in the novel, Sal thinks, “So much of a person’s life is dictated by when and where they’re born.” In many ways this is a transgenerational novel. There’s Sal’s mother, Teresa, and his roommate, Don Julio’s generation who came over from the Dominican Republic in the late ‘60s and early ‘70s. There’s Sal and his best friend, Charo’s generation who arrive on the heels of their family in the early ‘90s. Then there’s Sal’s younger brother, Kiko, born in New York, but who uses Santo Domingo street slang, and Charo’s daughter, Carolina, also born in New York, and who Charo wonders where she’ll fall in the cultural divide. What did you want to explore in portraying three generations of characters who are equally, but differently, touched by the thumb print of migration? 

AH: I was really invested in challenging this idea that all immigrants have this great relationship to their home country. A lot of these characters have no interest in going back to the Dominican Republic. Some of them have escaped terrible violence and injustice. Then there are some who are very invested in being connected to the Island, and it’s not the characters you expect, like Kiko, who has never been there. Who was born in the Bronx but is invested in connecting to Dominican culture from the Island. He’s a kid, but he’s picking up all this vernacular. I wanted to show the multiplicity of different generations’ relationship to wanting or not wanting to have a relationship to the Island. 

Speaking of the accidents of birth, Don Julio was born at a particular moment. He fought in the Dominican Republic Civil War in 1965. He survived terrible things. His immigration story looks a little bit different from Sal and Charo’s because they’re not running from war. These characters are migrating for different reasons and because of that they develop different relationships to the country. To me, that felt like a more responsible way of writing about immigration than suggesting that all immigrants are pining to return home. That’s not the truth of my lived experience, or the immigrants from across the world whom I’ve met. 

JJ: The novel is written in the present tense, including the sections that are set in the past. Why did you choose this structure? How did you hope to shape the reader’s experience? 

AH:  I find the present tense so challenging to write in, but I also feel very drawn to it because, to me, it’s the tense of images. This is why the novel begins with the way that it does. It begins with an image of this young man standing by the window washing dishes. It’s a very simple image, but I found when I was playing around with different tenses, this felt like the most visceral way to show or align the images I had in my brain. 

The decision to write the past in the present tense came out of a desire to resist what Sal is doing with his life. Sal is wanting to forget the place and the people he comes from. And through this literary device I wanted to show the ways in which the past is constantly informing the present action of his life. It’s not in the past. It’s not something that happened a long time ago. It’s active. I wanted to have all the scenes in the same tense to show that as much as Sal is trying to outrun his past, he can’t. 

JJ: Can we talk about having examples, role models? There’s a character, Renata, who takes Sal and his close friend, Yadiel, along with a group of other young queer Dominican adolescents, under her wing in the sections set in Santo Domingo. She protects them, offers guidance, validates their experience, and scolds them when needed. She’s a queer elder. How did she develop in your mind? In a novel that explores young queer people of color, did you always envision developing a character like her? 

AH: Renata came out of questions I had about my own life. What if my life had been a little bit different in this way? Or a little bit different in that way? I didn’t have a queer adolescence in the Dominican Republic. I asked myself what it would have been like to have had a queer adolescence in the Dominican Republic and then, by extension, what would it have been like to have a queer elder to guide me, or people like me, through questions than one has about gender and sexuality? 

Renata is one of those characters I wanted to exist as a role model, but I wanted her to have her own life too. I wanted her to have her shortcomings, and I didn’t want her to necessarily feel like a mother figure. I wanted her to feel like a friend, like an elder who’s a friend and who has her own fears. Who has dreams, too. Dreams about having a stable job and taking care of herself. Maybe buying some property. I wanted to humanize her because I think, sometimes, we look at mentors and we think that they have all the answers, and that’s not always true. 

JJ: I mentioned Yadiel. I can’t get her out of my mind, and I think it’s because in a cast of characters who feel limited in their freedom—by fear, society, loved ones—she feels liberated, and dangerous because of it. She embodies a sentence that’s said later in the novel: “Some people would rather be destroyed than reduced.” Do you think there’s a cost to pursuing freedom?

AH: That’s my favorite sentence of the book. On the question of freedom, I think a lot about Toni Morrison. We sometimes confuse freedom for having no responsibilities and being able to do whatever we want, whenever we want, regardless of who it hurts or destroys, including oneself. Morrison explains freedom as the ability to choose one’s responsibilities rather than having no responsibilities. I don’t think Yadiel feels like she has no responsibilities, but she does a lot of self-destructive things to live as freely as she can within the confines of a homophobic and transphobic society. 

I also wanted to show that, unfortunately, there are real repercussions to living as freely as we want. We all want to express ourselves in ways that align with who we believe we are. But the reality is that the world sometimes does not want that. What do we do when the world does not want that? Do we shy away from it? Do we go against it? Do we pretend it’s not there? Do we say fuck you and do whatever we want? Which, I must say, is something I deeply admire in people. But I also recognize that freedom is not always survival, and sometimes we need to survive.

JJ: Let’s circle back to language. I used “she” when referring to Yadiel. In the book’s dialogue, it’s mentioned that Yadiel sometimes uses “she” and other times “he.” Sal says it’s complicated. There’s also the word maricon, which is used frequently throughout the novel. Often, it’s used with malice, but when used by, say, Sal or Yadiel, who are queer, to discuss or identify another queer person, the bite is taken out of it. Finally, there’s the title of the novel, Loca, which is how Sal and Yadiel refer to each other. Using the feminine. And which allows them, as Sal notes, to see each other better. How is identity influenced, or represented, by the novel’s use of language?

AH: It’s important for me to point to the fact that Dominican people, and Black people across the Diaspora, use languages that have been thrust or forced upon us. But also, everywhere across the Diaspora, whether it’s in the Caribbean, in the Americas, or elsewhere, we find ways to take that language—Spanish, English, French, etc.—and do wonderful things with it. We make it our own in creative ways. 

Dominican people do incredible things with the Spanish language. There are jokes on social media and in the world about how no one can understand what Dominicans are saying because we speak fast and have a particular vernacular. But I take seriously the use of Spanish and colloquialisms and vernacular of people from the barrios, people from working class communities in Santo Domingo and the Dominican Republic at large. I draw from that in my writing. In my fiction, I draw from that instinct to take language that is formal, that was given to us, and play with it to get to the specificity of what I’m trying to say. It’s about the people, their interiority, and what goes on in their minds and their hearts. It’s about what drives them to make the choices they make. 

This is a sort of diasporic novel, right? There’s Dominican people, but there are also Puerto Ricans. There are Black Americans. Sal’s in a relationship with a Black American man from New York. And so, there’s a lot of these conversations around how we relate to each other across the Diaspora. What language do we use? What is our relationship to language? When I was writing I had to be mindful of Black American vernacular. Of Dominican vernacular from the Island. Of queer Dominican vernacular from the Island. Of vernacular from the diaspora of Dominican, New York. All these different ways of speaking and talking that I put in different characters’ mouths. All these different pools of language meeting and crossing streams. 

Yes, sometimes it’s great when people can connect across vernacular and differences. But sometimes it creates tension, too. For example, there are conversations that Sal and his partner, Vance, have because Sal has it in his head that immigrants have it worse than Black Americans. And Vance is like, why are you comparing oppressions? They’re having these conversations about their identities. The language in the novel, including the title, comes from that investment in drawing from the ways that these different people in different places speak. 

JJ: Expectations, self-expectations, circle around the novel, perhaps with no one more than Charo, Sal’s best friend. She’s in her early 20s, has a young daughter, works at a grocery store, and, in many ways, is deeply unhappy. She views herself as having become the type of woman she’d never thought she’d be—tending to a man, dreams deferred. In a 2020 interview with No, Dear Magazine, you said that you “think a lot about mothers and who they are outside of their roles to serve and provide.” What questions did you have around desires, expectations, and the structures—economic, political, patriarchal, racial—that act as obstacles to achieving them?

What I wanted to ask was what would it have been like for my mother and her sisters if they had had a group of friends to support them through all these structural issues.

AH: When I was conceptualizing Charo’s storyline I wasn’t always thinking about the structural “isms,” although they exist. Charo is a dark-skinned Dominican woman who’s an immigrant arriving in the United States in the ‘90s. But I was more so thinking about loneliness. Charo is not my mother, but I was thinking about my mother and her siblings and cousins. Women who came to New York in the mid-90s. Whenever they talk about it, they seem to have lived lonely and isolated lives. What I wanted to ask was what would it have been like for my mother, her sisters, or women like my mother and her sisters, if they had had a group of friends to support them through all these structural issues. Whether it be xenophobia or racism, or just how difficult it is to start your life over in a new place where you don’t speak the language or you don’t know anyone. Loneliness was on my mind a lot.

I almost had to step away from the language of what I call social justice to ask myself who this woman is? Because these people are not thinking about their lives in this way. They’re thinking about their lives in terms of what do I do when I get up? Who do I relate to? Who do I like in my life? Who don’t I like? When do I feel suffocated? When do I feel free? What does Charo want if it’s not always this domestic life? Because I don’t think that she doesn’t want it at all. I think what she’s saying is that I don’t want it to be my whole life. To try to understand her I had to get inside her heart and mind.

JJ: Speaking about friends, at its core, the novel is about friendship, which, to me, is a rare focus in literature, particularly when considering other forms of relationships—familial, romantic. Can you talk more about centering friendship, and all that comes with it, in the novel?

AH:  It’s a personal investment. I take my friendships seriously. My friends have shown up for me in life saving ways. My friends challenge me just as much as they validate me, and that’s important. I wanted to honor that through my work. To honor that mode of relating and being in the world with other people. The world can be a lonely place, and in my personal life I’ve found that friendship can be one of the best balms for that loneliness. 

I also thought about some of my favorite books. Books that even inspired Loca, like Sula, and White Teeth, and other texts that are great examples of what happens when we take friendship seriously. Because when we take friendship seriously, we see all the potential for creativity. My intention was to fill Loca with friendships that are challenging. The friendship between Mauricio and Vance is challenging. The friendship between Sal and Charo is challenging. So is the one between Sal and Yadiel. All these characters love each other, and yet there is always tension because they really love and are invested in each other. Those kinds of friendships have been some of the most fruitful relationships in my life. I wanted to put that into literary fiction to say that those relationships are valuable.

JJ: Near the end of the novel, Charo says to Sal, “You don’t have to forget the past to survive it.” To me, this echoes as a thesis that permeates the novel. It’s also, simply, as a testament to remembrance, a generous sentence. In the spirit of generosity, what did you hope to offer—to yourself, to readers—while crafting Loca?

AH: I’ll start with this question about surviving the past. I wrote that sentence because I come from a people who don’t speak about traumatic things. They’ve found ways, either through alcohol or drugs or sex or a thousand other ways to suppress the past, to go on. To move forward. I wanted to offer this as a remedy to myself, just in a way of thinking about the world. To express or explore a belief that I have, which is that to move forward it is necessary to look back and reflect on the past, and to be able to live with it in the present. Even, and especially when, it reflects our own shortcomings.

I also grew up around a lot of people with a severe lack of accountability. Some of these characters are grappling with that, too. I asked questions such as how are we accountable to ourselves? How are we accountable to the people we love? To our community? How do we move on? And how do we move on when we’ve made mistakes? I wanted to explore all the ways of how one can live with oneself. Because life is hard. And people do great violence and terrible things to each other. I wanted to ask myself, and I continue to ask myself as I continue to write: Is it possible to go on despite how challenging life can be? How can we be accountable for our actions, and who we hurt? And is atonement a real thing we can achieve?

When Mom Dies Our House Will Literally Collapse

“Housemom” by Hannah Gregory

At thirty-eight, I learn the alphabet of dying. Advanced directives. Biopsy. Cancer. My mom spends a month in the hospital just before Christmas. The rest of us—my dad, brother, and I—sit by her side in the oncology unit. I hold her hand that’s bruised and taped up with a needle thingamajig. When I was a kid, she was strung with those same thin tubes at a Delaware hospital, after she almost drowned at Rehoboth Beach. That word, again—drowning. Online, caretakers describe my mom’s disease as a yearlong drowning. 

My brother, Robbie, and I pass our phones back and forth, laughing at dumb memes in the cafeteria, as we become part of the hospital’s rhythm. Our dad becomes an aphorism generator. He says to take things one day at a time. Meanwhile, nurses and doctors talk with the elegance of a freight train. I cry by myself, next to windows in quiet corners, with a half-eaten sandwich getting soggy in my lap. Mom is lucid at times. She asks when Katy is coming around, my first serious girlfriend who broke up with me when I transitioned years ago. My childhood toys are still in the basement, she says, and to please make sure my kids—that I don’t have—get some enjoyment out of them. I say, yes, of course, but Robbie’s kid—that he does have—might have fun with them too. She says, tearfully, she’s just glad that my life is full of love and purpose. It’s not. I date questionable people. I work for a nonprofit that believes its workers can pay the bills by believing in the mission. So, I smile and say, thanks, Mom. Someday, my life is going to make sense and I’m afraid she’s not going to be around to see me happy.

After visiting hours, Dad, Robbie, and I walk through the near-empty parking lot, speechless, under streetlamps decorated with wet, red-bowed wreaths. When I return to my apartment every night, I don’t cry. I crumple.


We bring Mom home, a milestone, with a walker and a year left to live if we’re lucky. Before the semester starts, Robbie decides to bring his family to stay for a week at our parents’ house. Robbie is a directionless, non-tenure-track lecturer of Marxist history at a small liberal arts college two hours away. His wife, Samantha, is a “consultant” who specializes in “asset oversight” for “troubled municipalities” at a “Big Four.” Other than a respect for each other’s bitterness, what they love about each other baffles me. They have a four-year-old son named Kevin, whom Samantha calls Little Mouthful. The nickname hasn’t caught on with anyone else. She reposts content from a Freudian mommy influencer and I assume the name refers to the oral stage of psychosexual development. 

The day Robbie is supposed to arrive, I am at the house before him. My eyes itch and my mouth feels coated with dust. The fridge is full of slimy, wilted greens, collapsed fruit, and leftovers furred with mold. A slab of drywall has slid off the studs and shattered across the kitchen floor into powder and wallpapered chunks. The house should be livable before Robbie arrives and, eventually, I convince Mom to boss me around. She has to relearn how to navigate the house with her walker, pushing and lifting the wheels over the carpets and rugs, the wooden wedges between the door frames. I drag the garbage can from under the sink and clear the rotten food from the fridge. I vacuum the rug under the dining table. More things to fix keep appearing as I move through the house. Torn tissues on the floor. A picture frame that’s fallen off the wall and left behind a jagged hole. She tells me I missed a spot with the vacuum and the picture frame that I hung was crooked. A year ago, I would have been annoyed by the moving target of her expectations, but now, I am just happy that she’s here, alive to tell me that the ceiling lamp has a dead lightbulb that’s been driving her crazy and if I could please change it out. After an hour, my mom is tired and she settles down for a nap. I haven’t been able to find my dad. I hear his sounds in the walls—groaning, tapping, dull footsteps—and I assume he’s in some secret corner, repairing or making things worse.

I help Robbie unload his car and we settle in the living room. Kevin a.k.a. Little Mouthful is playing a brightly-colored game on Robbie’s phone where different types of beans (pinto, black, garbanzo, jelly) have been scrambled in a grid. Whenever he lines up several beans in a row, the beans vanish and the phone makes a farting noise. In between moves, Kevin rams his finger up his nose and slides boogers on the screen. Samantha sits on Robbie’s lap, twirling his shaggy beard. She asks for updates about my life, but I have difficulty looking at her directly. 

“Your job,” she says to me, “you’re still at that dysfunctional non-profit?”

“Unfortunately,” I say. 

“It says a lot about a person when they won’t leave an abusive relationship.”

She asks me about the lack of raises and promotions, if I’ve ever considered moving away from home and if I’m seeing anyone, which I hesitate to answer, but in my hesitation, she becomes persistent that I answer with anything but no. Her barrage of questions is not because she’s interested in me, but because she takes pleasure in other people’s injuries. Her gossip is usually full of colleagues lacking self-preservation at company parties: partners having affairs with new hires and interns vomiting where vomit shouldn’t be. She assumes every trans person’s life is tragic. I tell Samantha I have a girlfriend, but don’t tell her I am the affair.      

Her name’s Clara and she’s an assistant editor at a small publisher. The way Clara talks about her work makes me think she hates reading. There are hardly any books in her apartment, which is decorated with plants, inoffensively-designed West Elm furniture, and flourishes that make me nauseous. A banner hangs over her bed, spelling FLAWLESS in bubbly, gold-glittered letters, and I have taken to calling her Flawless as a joke that she interprets as a compliment. Clara is getting married in mid-July and she has said that this, whatever this is between me and her, will end then. I am Clara’s promiscuous life that she can abandon whenever it becomes too dangerous or personal for her. 

“Is this person marriage material?” Samantha asks.

“It’s on the horizon,” I say, with regret, but also as a joke for myself.

“You have to bring Clara around before we leave,” Samantha says. “I bet your mom would love her.”

A loud, juicy fart spills out from the phone in Kevin’s hands. Blood drips down his upper lip and onto his shirt too. Samantha crouches down and plugs two tissues up his nose.

“Don’t take them out, Little Mouthful, until your nosebleed is over,” she says.

“He’s gotten blood all over the carpet, Sammy,” Robbie says.

“Did you get your bodily fluids all over the floor, Lil Mouthie?”

Kevin shakes his head and tries to remove the tissues rammed in his nose, which saturate with blood. Samantha removes Kevin’s shirt and tosses it to Robbie.

“What do you want me to do with this shirt?” Robbie says.

“I want you to clean it,” she says.

“Then tell me to clean it. Don’t just throw it at me.”

“I’ll clean Little Mouthful and the floor. You: the shirt. Unless your bourgeois ass needs your servant wife to clean up everything.”

Robbie lets out a loud punch of a laugh. “I could live in poverty, you know. Rice and beans are a complete protein. We could feed this family for ten dollars a week.”

Kevin’s stomach juts out as if he’s pregnant, but his chest is flat, almost concave. His nipples are pink dimes that barely exist. I feel bad for him. Every time I hear Samantha say Little Mouthful, I want to crawl into a cave and be mauled by a bear. I hope he doesn’t turn into a selfish twerp like his parents and stays the feral freak he is. Robbie gets up and tussles Kevin’s hair. Samantha pulls the back of Robbie’s shirt as he tries to walk towards the laundry room and she wraps her arms around his neck. 

“Robert loves it when I tease him,” she says to the room and kisses him. 

He responds in a tiny, froggy voice: Iloveit-iloveit-iloveit. Kevin sits on the floor, pulls out the bloody tissues, and casts them onto the carpet. Blood drips back down his nose as Samantha and Robbie peck at each other’s lips like hungry, oblivious birds.

For the rest of the afternoon, Robbie watches football and Dad appears, gliding through the house, one hand clutched around his pants waistline. Faint whiffs of wet paint follow him. He has hardly spoken since the diagnosis. Every other week, he awls another hole in his belts to keep his pants from falling down his two-by-four waist. I wish I could articulate the right words that would open him up. I want to hear him say that he’s angry or upset, that my mom’s life is worth fighting for, and how we need to support each other through this illness. 

I text Clara how I’ve only been home for a few hours and I already need a break from my family. Clara responds that we’re overdue for a tryst and we make dinner plans for next week.

Wear something cute, she texts. Don’t try to beta-test your mourning clothes on me.

I’m at the movies rn and people behind me are maaaaaaad I’m texting. 

It’s not my fault Victorian England was dimly lit!!!

I tell her this sounds great and react to all of her texts with a !! or HA HA

Our relationship has a bumper car rhythm. Clara has no facades and loves no one except herself. When we make out, there is too much saliva and the way she presses my lips against my teeth feels like Play Doh flattened between two palms. Our sex is slow, often clumsy. She is forceful, as if there were no greater injustice than having control taken away from her. But I like the bruises she gives me. Feeling small often feels better than processing my grief. The first time we fucked, she said not to friend her on social media. She doesn’t want any evidence we exist. I found her wedding website anyway and looked through the couple’s smiling photos: hiking in Bavaria; eating poutine in Montreal; half-naked, covered in mud at Burning Man. Maybe they’re not happy. He could be a starter husband, a placeholder until she discovers something better.

Night arrives abruptly and, for dinner, I make chili. The fridge has stopped working and I quickly pull out the first things I see: spinach, chicken sausage, pizza sauce. Kevin drinks his out of a cup. Steam pours from his mouth as sauce and chopped onions trickle down his chin and neck. He mimes a chef’s kiss and says, “Ahhh! Buonissimo!” When I try to eat, it burns my tongue. Everyone else blows on their spoons before carefully tipping the chili into their mouths.

“We were thinking about going to Delaware for the summer,” Robbie says. “Rehoboth Beach. Like when we were kids. We could rent a house and everyone could come.”

“I’ve never been,” Samantha says, with the conspiratorial air of a pre-planned conversation. “I hear it’s lovely that time of year.”

“The summer?” I say. “It’s a beach. Of course it’s lovely in the summer.”

There had been an unspoken moratorium on Rehoboth Beach since my mom almost drowned there. For years, we would go out of our way to avoid mentioning Delaware, even though most of my dad’s family still lived there. Dad would say, Aunt Liz’s house, or, the state where I grew up. My brother was too young to remember how traumatic that time was, seeing my mom carried off into the ocean, and then brought back unconscious by a lifeguard with a blurry Sublime tattoo on his pillowy, deeply bronzed pec, an image that I always see whenever I think of this moment. The lifeguard had stiff-armed my mom’s chest until she coughed up seawater and vomited in the sand. Even then, I had wanted to believe that Mom would always be around and that motherhood was the same as immortality. When she woke up, she laughed, scaring me, as the paramedics wrapped her in a thin, silvery blanket and brought her to the hospital. Now, her face reminds me of how broken she had looked in the ambulance. She’s bent forward, shaky, but she is smiling, as she follows along with the conversation.

“Yes. The summer,” Samantha says. “You could bring your girlfriend or themfriend, or whoever you’re playing around with these days.”

“Her name’s Clara,” I say.

“Well, don’t forget to invite us to your wedding.”

“What’s that?” I say, changing the subject to get a rise out of her. “Is that a library that needs privatizing?”

She says, in one quick breath, rising out of her chair: “Privatizing libraries is a perfectly efficient method to resolve budget crises in distressed municipalities.”

I turn to Robbie and say, “I thought you were a Marxist.”

“Stop pretending like we’re not a normal family with a normal happy life,” Samantha says.

“I’m happy, too,” I say, and hate how desperate it sounds. No one says anything except Kevin, who is meowing and slurping his glass of milk with his tongue. 

“I wouldn’t plan around me,” my mom says. Her spoon rests on the edge of her bowl and she has stopped eating. “I may not be around this summer.”

My eyes meet Robbie’s and he has a sad, helpless look on his face. My dad too. Kevin holds out his empty cup to Samantha and pssts at her, as if trying to draw attention from a cat.

“Positive vibes,” Samantha says, scooping more chili into Kevin’s cup. 

“If you want to go, just rent a house and we can decide later,” I say.

“Okay,” Samantha says, with unbroken eye contact towards me. “But we won’t know what size house to rent. And if we wait until May, there might not be anything left. Now’s the best time to find a place to rent, unless you’d rather vacation in some dump like Atlantic City.”

“Let’s talk about this later,” Robbie says.

“Okay, comrade,” she says.

“Don’t be like that,” he says.

Samantha says mmhmm, and smiles at her own joke. We eat the rest of dinner in silence. At one point, Kevin lets out a loud burp and Robbie gives him a light punch on his shoulder. Kevin growls with sauce-grouted teeth. After cleaning up, I pull Robbie aside into the hallway.

“Do you really think bringing Mom back to Rehoboth is a good idea?” I ask.

“She told me she wanted to go back,” he says.

“When?”

“Earlier.”

“I don’t believe you.”

“What’s gotten into you today?”

“Nothing. Just. Nothing,” I say. “Never mind.”

“Listen,” he says. “She said she needed to go back. It seemed important to her. And don’t you think it would be nice to have a family vacation one more time while she’s still around?”

Around for what? I want to say. No longer dying?

“Is that the best thing for her right now?” I ask.

“Yeah, I mean, I dunno, dude,” he says. “Sorry. I mean. I dunno.”

I shrug and make a face, like, it’s all good. “Dude can be gender neutral,” I say.

“I try to be better than that, though,” he says, embarrassed.

Before I leave, I help Mom into bed. The quilt she made is patched with green vines and bright, colorful pops of flowers. It’s heavy and seals her in. She looks as if she’s going to lay down by a river in a lush forest.

“When were you going to tell me that you had a fiancée?” she asks.

“We’re not engaged,” I say. 

“St. Joseph’s is a nice place to get married. Remember Father Tom, who baptized your brother? He said he’d never seen a baby’s penis so crooked.”

“Mom,” I say and laugh. “I am dating someone. There’s no wedding. Her name’s Clara. She likes books. She’s flawless, really.”

“Bring her around next Saturday before Robbie leaves. Everyone wants to meet her.”

My mom will be charmed by anyone I bring around. Clara would be the first girlfriend my mom has met since Katy, who visited regularly and engaged in our family traditions, like pizza on Christmas Day and fireworks brought from New Hampshire on the Fourth of July. I wasn’t happy then. We all knew it. I drank too much. I argued with Samantha about her asinine, meritocratic outlook on life. I want to show my mom that I’m capable of finding oases of love and fulfilment in my own life. But Clara can be a wildcard and I have an urge to protect her from Samantha. Do I love Clara? I don’t think I do, even though I want something like love from her. This relationship is the closest thing I’ve felt to being desired since I transitioned, a feeling that’s impossible to explain to my mom. I have the urge to protect her too.

This relationship is the closest thing I’ve felt to being desired since I transitioned, a feeling that’s impossible to explain to my mom.

“We don’t have to go to the beach if you don’t want to,” I say.

“What beach?”

“Rehoboth. Robbie and Samantha brought it up.”

“Oh. Yes,” she says. “Robbie wants to go.”

“We never really talked about what happened, but, it might be an emotional experience going back. Or overwhelming. I’m here to talk about it if you want.”

“It’s fine.”

“Are you okay?”

“I’m a strong swimmer,” she says.

“I know that Mom,” I say. 

She closes her eyes and says: “I was sad once, but it was different then. The expectations we put on ourselves. Now, let me get some rest.”

Her breaths are labored, rattling, and coughs snag her awake. I stay with her until she falls asleep. I want to believe she needs us, and that she knows the world is more alive with her in it, and that it’s okay if she was a little weak in that moment, we’ve had many good times since.


I wake up at odd hours, usually at two a.m., and fall back asleep around five or six. Every morning, I have to convince myself that my mom is dying. I don’t want her to die, but grief is a kind of love and all love will drown your heart in an acid bath at some point or another. I’m stuck thinking about our biannual road trips to Rehoboth Beach. Every other year, we were trapped in summer New Jersey turnpike traffic and passing through the cloying, rotten smells of factories and farms, as my brother and I pleaded for rest stop McDonald’s or Sbarro’s or a Nathan’s hot dog. We cried, we whined, we laughed and laughed as we crossed the Delaware River and said that’s a long river, George Washington probably peed in the river when crossing it—he peed in the Delaware River, you see, the Delaware River is full of his pee. My mom smiled back at us, not understanding why the joke was so funny and my dad was tired of driving, wishing for a beer and children knocked out with the drunkenness of a road-trip. We arrived at sunset, at low tide, sandbars exposed like bare gums, but the ocean still so vast and endless as we dipped our feet in the warm, leftover pools of seawater and asked Mom why the sun wasn’t setting over the ocean like the movies and my mom calmly said to us like we were adults that this is the Atlantic, sweetie. I asked if we could go to the Pacific next year and she cried instead of making a promise. There were many days like that even before vacation. Tears. Keeping our house intact. Removing a black mold that would never go away. Many years later, when I came out to her, she had said there will be deep, deep pits of weariness in my life, full of doubt and questioning that doubt, where nothing feels fixable and you watch the ridges lengthen and deepen in your skin and wonder where all the good years have gone. That’s okay. That’s how we live. I’ll get beyond it. But there we were on the last day of vacation, the sun as terrible as that stupid Sublime logo, and Mom being swept away into the horizon, fighting against the ocean but also letting the water drag her under. We stopped going to Rehoboth after that trip. 

When morning plasters the curtains, I text my brother that I think I need a lobotomy if I’m ever going to be happy again. He says he knows a guy. The doc is imprecise, but he’s quick. I say sure, but does he take catastrophic insurance? Robbie’s not sure, but says maybe check the doc’s Yelp page and ignore the one-star reviews. 

I ask him what he remembers about Rehoboth Beach. Being knocked around by the waves, he texts. The car ride back, all of us sitting in silence and seeing the Twin Towers when they were still standing. The game we played on long car rides where we owned everything outside our windows and I whispered, Robbie look, you own New York City. Did I remember? How he owned New York City and I was stuck with a bunch of billboards and Giants Stadium? Or maybe that was another trip. 

I’m worried about Dad, Robbie texts. I don’t know what he’ll do without Mom.

The house is falling apart too. I’m tired of take-out and room-temperature leftovers.

I tell him I’ll look into refrigerator repair. It’s an old house with low ceilings and oddly-shaped rooms, and needs constant work. My mom’s father designed and built it after the war. When I was three, he died from a blood cancer and our parents moved in shortly after. Robbie was born a couple of years later. 

For my whole life, I’ve associated this house with Mom. The home of her childhood, where Dad placed a corsage on her wrist for prom, where they converted an office into Robbie’s bedroom when he was born. My grandfather taught my mom how to caulk and grout and Mom taught Dad how to retile the bathroom floor. They tag-teamed repairs and garden projects. They would sump out floods in the basement during storms and emerge in the morning, baggy-eyed, spotted with dirty water, and microwave a cup of coffee that had gone cold from the day before. I never had the sense Dad knew how to repair anything without her guidance. He hammered his fingers instead of nails. He always forgot the difference between a Phillips-head and a flat-head. This was love, I thought, taking her lead without question. Simple, unselfish love.

Confronting this loss has turned Dad frail, though language was never his greatest gift. He has always attempted to be the most stoic among us, but vulnerability would bubble up unexpectedly. He would be the only family member to cry during movies. We would sit through the credits as a kind of reverence for what appeared to be a profound experience for him. When Mom was in the hospital after Rehoboth, he hardly spoke then too. I was nine and had to piece together keywords doctors used: IV fluids, shock, dehydration, support system, therapy, anti-depressants. Extracting his emotions is like unclipping the wings of an already flightless bird. We have to wait and hope he’ll reveal what he needs from us. 

I text Robbie how we need to look out for Dad and we need to keep the house livable for him. He responds with a thumbs-up emoji. When I ask him if he thought Mom tried to drown on purpose he texts back: Why do you always go for the darkest ducking possibility?

Fucking*

She told me she was avoiding a jellyfish and got caught in a riptide.

Don’t you think we should try to leave there with one last good memory?

I want to show Samantha what a happy family looks like.  

I wish he wasn’t making this trip about himself, but that last text makes me wonder how much of this desire for a family vacation is coming from Samantha, if she thinks she can replace our mom after she dies, with her Freudian mommy-isms and inability to patch drywall. I want to tell Robbie to not worry about Samantha, but I don’t, so I text back a noncommittal, Sure, instead.


Clara and I go on a date far outside of town, at an Italian restaurant known for its garlic-aggressive food. I ask Clara how her wedding planning is going. She eyes me suspiciously and says that July feels so far away. I know what she means. My dad says that every day is a blessing, but to me, anything beyond next week doesn’t exist. 

“I can’t decide if it’s better to be bloated for my fitting or closer to my ideal weight,” she says. 

“What’s your ideal weight?”

“As close to a waif as possible.”

She shows me pictures of wedding dresses on her phone. The models look emaciated and far too young as they pose at European-looking estates, in front of macaron towers and painted portraits of depressed, European-looking women. Waif-like, petite, and European-looking are not words I’d use to describe Clara. She is six feet tall, lacks nuance, and moves like a battering ram.

“I like the dresses that look like bowls of cream,” I say as our dinners arrive. “They seem expensive. Flawless. What’s your budget?”

“They are,” she says. She unfurls the silverware from the napkin and spreads the cloth across her lap. Her engagement ring sits loose on her finger and she spins it easily.

“Have you and your fiancé ever talked about having kids?”

“God, listen to you. You sound like my grandmother,” she says. “No, I want my youth. I want bottles of wine on the Seine. I want pizza with Stanley Tucci. I want people to feel like they have nothing because, when they see me, they’ll know I have everything. Doesn’t that sound perfect?”

While she talks, she forks and twirls her bucatini with the vigor of a concrete mixer. Dots of sauce and roughly-chopped garlic splatter on the edge of the plate. She avoids my gaze and speaks to her pasta, as if eye contact would have ruined her nice soliloquy about youth and defiance of expectations or whatever. I murmur something like an affirmation. 

“Life’s too short to live for other people,” she continues. “Besides vanity, from what I remember, is not a deadly sin. What do you want in life?”

“I want to make rent next month. I want my mom to stop dying.”

“Don’t be so morose. I’ll end things right here if you don’t stop being so moody. Tell me what you want and don’t make it sound like you’re getting last rites while standing in oncoming traffic.”

I think of my mom and say, “I want someone who will love me despite my bad decisions and still give me perfect gifts every year.”

“That’s right. I am your bad decision,” she says with a mouthful of pasta and sauce wedged in the corner of her lips. Her foot slides under the hem of my skirt.

After dinner, we pass a “fog flavored” vape under the restaurant awning. A fine mist diffuses the streetlights. Warm winters still feel like an anomaly. It should be snowing.

“Have you ever seen someone die before?” I ask.

“No, never. I try to avoid death at all costs. Have you?”

“Once. My mom almost drowned when I was young, on a family vacation to Rehoboth Beach. Caught in a riptide, I guess.”

“Rer-hobe-both?” she says, stumbling over the pronunciation.

“Rehoboth,” I say. “It’s in Delaware.”

“I’ve never been.”

“We used to go every other year. If I went back now, I’d think it was some crowded tourist trap. There’s a boardwalk, arcades, taffy shops. It felt like something special then. I remember once my mom was teaching my brother how to swim in the ocean. He had those little floaties on his arms. He was two years old, I think. A wave knocked him over and whisked off his swim trunks. My mom laughed hysterically as she carried my naked brother across the beach, shouting: Don’t mind my naked child! The waves ate his swimsuit!

“If I ever meet your mom,” she says, “I’ll collapse into a puddle of tears.”

“She’s very kind,” I say. I want to ask Clara if she can come over for dinner next week, but I’m too fragile to be rejected right now. I’ll text her about it.

“The best people die young. How old is your mom?”

My mom laughed hysterically as she carried my naked brother across the beach, shouting: Don’t mind my naked child! The waves ate his swimsuit!

“Sixty-five,” I say.

“I bet she would live another twenty years if she were more selfish.”

I’m tired of thinking about my mom. I hope she’s sleeping well or doing something nice for herself right now. “What did you think of the food?” I ask.

“All Italian restaurants are a scam. They make you pay thirty dollars for an entrée I could have made at home.”

I’m caught off guard by my own laugh. She is, too. At my apartment, she bludgeons my body into something ecstatic and pitiful. I want to tell her that I love her, but I know how embarrassing that sounds.


I’m surprised that Clara doesn’t decline my invitation for dinner at my parents’ house next Saturday. When I tell her all the ways my sister-in-law has been a bitch this week and has coerced me into inviting her, Clara responds that bitches like herself will out-bitch lesser bitches and ends her response with a foot emoji stepping on the smiling shit emoji. Besides, parents love her, she texts, she knows how to work them. I had been prepared to plead with her, but she said it was fine, just not to expect anything more serious between us.

When I arrive, the house has deteriorated further and I follow a trail of destruction: saw dust, bent nails, overturned furniture. Samantha is in the kitchen, unhelpfully letting water run in the sink as it cascades over a pile of unwashed dishes. She seems put off by my presence and I avoid her. I don’t know why I’m such a failure in her eyes. Is it my transness? I’ll never know because I never want to be vulnerable with her. A family is comprised of many thorns and she is most of them. 

She tries to attract my attention, but I have drowned her out, my brain occupied by a sound that becomes more audible when I turn off the sink. A tapping, grinding. I attempt to triangulate the noise from different rooms. The living room. Outside my parents’ bedroom, where Mom is sleeping. The garage. My old bedroom connects to the attic with a crawl-space door. It’s cracked open. Inside, my dad is pushing a hand plane over the old framing studs. Wood chips gather around him as he makes each plank thinner and thinner. New studs are piled next to him. The cotton candy insulation has been ripped out and spread loose too. Somehow, he is wet.

I say hello to Dad, sit next to him, and I see a deep sadness in his face. Not one of a child who has been caught red-handed, on the verge of tears to avoid punishment. No, my dad looks more like a spelunker who has been trapped in a cave for months, uncertain what to make of his rescue.

My dad picks up a crowbar from the floor and says, “When your only tool is a hammer, every problem looks like a nail.”

“Are you okay?” I ask. 

“You can’t unscramble an egg,” he says.

“I know, Dad. I wish we could.”

It’s hard to envision our lives without Mom. Is this his attempt to preserve the house, despite his incompetence with repairs? I don’t know what he’s trying to accomplish. But there are today’s problems, the solutions we’ll discover tomorrow, and the irresolvable questions that will outlive us all. I tell my dad it’s our responsibility to look out for each other and he nods solemnly.

“Thanks, D—,” he says. That’s not my name anymore, but I don’t correct him. I’ll let him stew in his sadness for now. I’m tired too.


I enlist Robbie to help me fix and tidy the house. We re-hang pictures and sweep up drywall. Kevin helps turn furniture back over and shouts to us when he discovers the fridge is not broken, but has just been unplugged. We cheer as the fridge’s cold light is restored.

At night, Clara is late. She said she would be here by four and it’s nearly six. We order pizza anyway and my dad drives to pick it up. 

“Your girlfriend’s not real, is she?” Samantha says.

“What time are you leaving tomorrow?” I ask.

“As soon as Robert gets his ass out of bed,” Samantha says, ignoring my jab. “You know he’s been crying himself to sleep? Probably over your mom. He doesn’t think I hear it, but I do.”

“I can talk to him.”

“There’s no need. Someone has to take responsibility for this family when your mom is gone. Besides, that’s what wives are for,” Samantha says. Before I can tell her that she’s being cruel and delusional, she sees my phone light up on the counter and says, “Speaking of, is that yours?”

I open a text from Clara that says Outside? In the driveway, her car’s headlights splash across the trees. When I greet Clara, we kiss and she apologizes for being late. Her friend’s dog ate a candle and had to go to the emergency vet. 

“An expensive candle too,” she says. “It cured her bad breath at least.”

“Maybe we should all be eating candles,” I say. She gives me a playful shove and I stagger away from her. 

“He almost died,” she says.

Before we step inside, I tell her how appreciative I am of her being here, even though what I mean is that I’m appreciative of her being this crass and unlovable person who snaps me out of my sadness and makes me feel human. She laughs and says that it’s frankly adorable how sentimental I can be. She kisses me and it feels tangible, certain, but also like sticking my head into a void that would strangle me if I attempted to hold onto this moment any longer. A small hum exits with my breath. 

Samantha pretends to appear surprised by our entrance. I panic when she raises Clara’s left hand and says, “Now, let me see that rock.” Clara removes her gloves and shows off her ringless hand. 

“Haha,” I say. “That joke never gets old.”

I expect a sharp comeback from Clara, but instead, she rubs her tongue over her teeth, the way I imagine a chef hones their knife before making a cut.

“Well, we’re not getting any younger,” my dad says, as he enters with a stack of pizza.

My mom inches into the kitchen and I introduce her to Clara. 

“What a beauty,” my mom says and holds Clara’s hands in hers, looking up to her. “And tall too. A real Amazon.”

Clara laughs and says, “You have a lovely home.”

Everyone sits down at the dinner table and, above us, I notice a dark water stain around the base of the ceiling fan. Tiny drips have soaked into the center trivet. Robbie looks up to the ceiling, but ignores the water and reaches for a slice of Hawaiian pizza. I don’t say anything either. 

“I hear you’re a writer,” my mom says to Clara. 

“Oh, haha, no,” Clara says. “I’m an editor, which means I get to work with some interesting writers.” 

“Like Barbara Kingsolver?” my mom asks.

“I wish. We’re a small publisher. Translated work. Writers on the fringe. We have a book coming out next month by this Bulgarian author named Savina Makendzhiev. She has 1-in-1,250 odds of winning the Nobel this year.”

“Oh, interesting,” my mom says. “What’s it about?”

“It is interesting,” Clara says and leans closer to my mom. “It’s a satire about this Russian oligarch who, after experiencing nearly everything in the world, creates a space exploration company called The Monstrosity. He spends a week on the moon and, when he returns to Earth, he believes everyone in his life has been replaced by replicas. His wife—who, at the beginning of the book, is this docile, compliant woman—has suddenly turned into this boss, this Lady Macbeth-type who tries to manipulate him into assassinating all of his enemies.”

“And then what happens?”

“The man befriends a rat, a common street rat, who becomes his only friend.”

Samantha laughs and says, “Seriously?”

“Sounds like Ratatouille,” my mom says, ignoring Samantha.

“Exactly!” Clara says and looks to Samantha with a brief, taunting smile. “But get this: the rat is actually an accomplice of the wife. When the man refuses to name his wife as head of The Monstrosity, the rat bites him, sending him into this fever dream for the next four-hundred pages, where he confronts all of the damage he’s caused throughout his life.”

“What will they come up with next?” my mom says sweetly. 

My mom and Clara are warm with each other. Their voices resonate at the same homey pitch. Whenever my mom’s shallow, persistent coughs take over and she appears self-conscious about interrupting their conversation, Clara waves them off and says, it’s okay, everyone coughs. Seeing Clara like this makes me doubt how cynical she really is. While they talk, I nod along and smile. I wipe my hands on the coarse paper napkin dotted with foggy oil spills of cheese and sauce, propping my cheek on my loose fist, and add approving mms and hahas. This is the liveliest I’ve seen my mom in months, since her sudden illness and her return home, as she’s moved around rooms lethargic, pale, ready to slip off into countless sleeps. And maybe this is what this is. A bright, motherly peace that now trusts I’ll continue to search for happiness and meaning when she’s no longer here. 

But I can feel Samantha’s agitation at the table’s opposite end. Her laughs are loud. Samantha’s prickly invitations to conversation with Robbie, my father, and Kevin fail to magnetize the whole table towards her. She repeats and emphasizes Kevin’s nickname—Little Mouthful, Little Mouthful, Little Mouthful—as if he’s doing something unique. I pivot my head over to him and he is eating his pizza, uncharacteristically, like an adult, leaving strips of burnt crust gathered in a tidy pile. Mom is oblivious to offers to refill her plate. She won’t budge from Clara as pizza boxes are opened in front of her, shuffled like a deck of thick, greasy cards. 

At an abrupt pause in our conversation, Samantha says, “Any plans this summer? You two. Hello? The lovebirds.”

“It’s only January,” I say. 

“This is what we do. We plan. We dream of warmer months. We execute the plan.”

“Do you have plans?” Clara asks.

“Rehoboth Beach,” Samantha says. “It used to be a family tradition, I’ve learned.”

“Oh. Rehoboth?” Clara says and laughs, saying Rehoboth correctly this time. “What a tourist trap. And it’s so crowded.”

“Are there sharks in Rehoboth Beach?” Kevin says, dropping the Hs in Rehoboth so that it sounds like rowbutt

“Of course there are, Little Mouthful. There are sharks at every beach.”

Kevin ducks under the table and I feel him squirming between our legs. Our bodies jolt every time he knocks against us.

“We’ll have to see,” I say.

“Why?” Samantha says. “You don’t have anything else going on.”

“We can discuss this later,” Robbie says.

“It was your idea, Robert,” Samantha says. “Besides, wouldn’t it be nice to go on vacation while your mom is still alive? Mid-July seems like the perfect time.”

Robbie says her name under his breath, sternly, but Samantha is impenetrable. This is beginning to feel too personal, an attack for me and Clara. Everyone shifts and navigates their legs around Kevin, who is swimming under and around the table with his hands behind his head in the shape of a shark fin. I want to change the subject, but my dad has started singing the Jaws theme. Kevin forces his way onto Samantha’s lap and tries to bite her.

“Oh, you got me. The shark got me,” Samantha says, jostling Kevin around. “Save me! I’m drowning!”

“Samantha! Stop it,” Robbie says. “You’re being such a bitch right now.”

I realize I’ve never heard him shout like this. Samantha looks stunned, but takes a breath. She recomposes herself, moving Kevin to the side, folding her napkin, shifting her dirty fork, her clean knife, back into position.

“Clara has—as I understand it—a wedding in July. We can work around it, but you and your fiancé George look very happy on your wedding website.”

“I’m confused,” my mom says. It’s difficult to describe a dying person’s eyes. Vacant? No. Detached, maybe, as if her whole being has been loosened from the world. I’m scared she’s going to die thinking I’m an unloved failure. 

“These arrangements are very common nowadays,” Samantha says. “Throuples, polycules, I think they’re called. Is that how it will work for you three?”

I wait for Robbie or my dad to say something, to tell Samantha she’s being out of line. I don’t want to bait her, so I say, sure, as cold as I can muster. 

“What do you think, Mom?” Samantha says to my mom.

I hate Samantha and this terrible illness, but I cannot excise Samantha from this family any more than the cancer from Mom’s lungs. My hand trembles, I feel a violent shaking inside me, and I want to say something, but I don’t and I won’t, because we are a family that avoids the difficult things, the conversations that need to be said. I feel a gentle graze on my wrist from Clara as she stands up and knocks against the ceiling fan. It sways as she rubs her head.  

“Why are you so goddamned horny about making everyone miserable?” Clara says to Samantha, snapped out of her performance. “Your husband looks sooo happy right now. Model family, my ass. And you’re taking a big sloppy dump on my choices? Be for real.” 

“I just wanted to clarify my understanding of the situation,” Samantha says, shifting into her business voice. “In case it affects our travel plans.”

“Real mature. No one buys that. Look at your mother-in-law and apologize.” When Samantha says nothing, Clara continues: “Don’t be pathetic. She’s dying. None of you are going to say anything?”

I’m ashamed that no one says anything, even me, as I fail to find the words to back up Clara. 

Drips rattle on the top of pizza boxes and build into a steady drumroll. Kevin places his palm under the ceiling fan and licks his hand before Robbie can pull him away. A few crumbs of wet drywall fall. Everyone pushes their bodies away from the table, instinctively, as the ceiling fan crashes on the pizza. My mom has hardly moved, but she does not seem shaken up like the rest of us. She looks at the broken fan and the needle-thin, candy-colored wires tentacled from the base, shaking her head and laughing.

When Samantha calms down, she says to Clara: “Look at what you did.”

“Stop,” Clara says, reprimanding Samantha. “You’ve lost.”

Clara, Robbie, and I help my dad move the ceiling fan from the table as my mom says that the fan was ancient and begging to be replaced. Samantha pats the top of Kevin’s head and, for the first time since I’ve met her, she looks wounded, defeated. Clara dusts the wet drywall from herself, gathers her coat and her purse.

“I’m going to go,” Clara says.

“Don’t be a stranger,” my mom says. “It’s not always like this.”

“I believe you.”

“Send me the rat book when it’s out. Signed, please.”

“Of course,” Clara says, smiling.

Before I walk with Clara to her car, my dad stops us and says, “Thanks. We’re a little lost right now.”

Clara puts her hand on his arm and I try not to cry.

Outside, I feel a resistance to touching her, kissing her on the cheek, saying goodbye, but I also want to do all of those things except say goodbye, because I have a feeling that it would probably be my last goodbye with her.

“Tell your mom I’m sorry for making a scene,” Clara says.

“Don’t apologize,” I say.

“Please. I can’t have a dying mother put a hex on me.”

She leans in and we kiss. Her mouth is wet and stings my chapped lips. As she backs out of the driveway, her car crunches over the gravel. I watch the headlights for as long as I can see them and listen to the faint decrescendo of her driving away as long as it echoes through the quiet neighborhood. It’s drizzling again and the mist clings to my eyelashes, or no, I’m crying. Through the kitchen windows and the dim, warm light, my dad is cleaning up, throwing away the wet, crushed pizza. My mom is still sitting there and she looks tired, immaculate. She deserves sainthood. 

Someday soon, I’ll tell her not to worry about me because I have been loved. A sharp syrup of phlegm catches in my throat as I try to say it aloud. I have been loved. A second-floor window slides out of its frame and lands on the ground, somehow, without shattering.

8 Books About Cousins That Explore Secrets, Rivalries, and Kinship

I have twenty-five first cousins. It’s a lot, but it could be more—if all of my aunts and uncles had replicated their own childhood’s numbers, it would reach the biblical proportions of six-score (er, one hundred and twenty). Because there were loads of them and they were scattered over two continents, being thrown together at Thanksgiving or a wedding felt a little like meeting a celebrity: familiar, unsettling, and utterly fascinating. A decade could pass without seeing each other, but cousinhood, I learned, was a club that you didn’t join and couldn’t leave. 

And so cousins are rich territory for fiction: they don’t have the voluntary nature of friends or the “can’t see the forest for the trees” quality of siblings. They look enough like you, some of the time, to let you see yourself from a new angle. Kids develop verboten crushes on cousins because often cousins are strangers with a spark of the familiar, a key ingredient for love at first sight. They can offer the clamor of family without the ponderous weight of direct familial obligation. They’re mostly luxuries rather than necessities. 

My novel Idle Grounds is told from the point of view of a group of young cousins as they go on an odyssey over the family property and into the woods in search of the youngest member of their cousin clan. I wrote it in part because I now have kids of my own, and find myself ignoring an awful lot at social occasions in a bid to have a full, adult conversation. It’s something I remember keenly from my own childhood—grown-ups sat round the table, chewing over fond memories and old grievances. And all the while we cousins were left wonderfully unparented, free to size each other up and form a kind of makeshift society, even if just for one afternoon. 

In some of the books below, the cousin bond forms the heart of the book. In others, there are missing cousins or ghost cousins, cousins as arch-villains, best friends, competitors, usurpers, and love-interests. Cousins who act as mirrors or offer different paths. Cousins who have been with you since birth, or who swoop down in later life to shake things up. And in nearly all of them, cousins as a foil, as someone who you can’t quite escape, who allows you to see yourself with a new clarity, for better or for worse.

Which is all to say: Cousins, they’re just like us (but not!).  

Happy All the Time by Laurie Colwin

The course of true love never did run smooth? Of course it did.

Guido and Vincent are third cousins. We know this because it’s the very first line of Laurie Colwin’s effervescent, razor-sharp novel Happy All the Time—a romantic comedy both genuinely romantic and relentlessly funny, bristling with delightful surprises while doing exactly what it says on the label. Not only are Vincent and Guido cousins, they’re best friends and they’re in trouble: both have fallen head over heels for women who are smarter, more interesting and far more complicated than they are—and that’s just fine. 

Colwin, a food writer as well as a novelist, offers up an exquisite platter of neuroses, as well as some of the most delicious descriptions of office life ever put to paper. There’s also a personal secretary named Betty Helen Carnhoops—it’s worth a read just for that name alone. 

Anything is Possible by Elizabeth Strout

Elizabeth Strout’s writing is beautifully understated, but her overall body of work reminds me of nothing so much as a spirograph: the novels collide, overlap, retrace, each book adding another illuminating layer. In Anything Is Possible, Strout drops us into her protagonist Lucy Barton’s hometown of Amgash, with its ghosts of a deeply impoverished childhood and the family she left behind. 

Part of the loneliness of Lucy’s adult life is how few of her circle understand the marking power of poverty, and because Strout’s novels are elongated mysteries, answers are revealed only in glimpses and across books, decades and hundreds of miles. Two clues to what makes Lucy tick are found here, in her cousins Abel and Dottie. Unlike Lucy’s siblings, whose traumas are bound up with their feelings about Lucy and her lucky escape, Dottie and Abel offer a clearer window into growing up very, very poor: the humiliations and deprivations, the hard-won stability always on the verge of evaporation, and the capacity for a tremendous and thorny empathy–a hallmark of Strout’s fiction. 

We Have Always Lived in the Castle by Shirley Jackson

There’s Merricat Blackwood, of course, the unforgettable, feral antihero of Shirley Jackson’s masterpiece We Have Always Lived in the Castle. Then there’s Constance, Merricat’s beatific, martyred sister, shut up in self-exile on the family grounds after being cleared by the courts—if not the townsfolk—of poisoning her family with arsenic-laced sugar. And then there’s Cousin Charles: Venal, two-faced Cousin Charles can be felt long before he’s seen—Merricat knows something bad is coming but fails to ward against it, bringing further disaster down on the Blackwood house, and ultimately a very Shirley Jackson brand of redemption. In a book about both the rot and sustaining juices of community, Cousin Charles is the wormiest worm in the apple. 

Song of Solomon by Toni Morrison

Milkman Dead’s nickname is only the latest of problems: His cold, unhappy father’s hatred for his mother makes everyone’s life a misery. His mother in turn is helplessly fixated on her own, dead father. 

Instead, young Milkman finds refuge in his Aunt Pilate’s warm and lawless household, a haven which contains two further treasures: a bag which may or may not contain gold robbed off a corpse, and Milkman’s beautiful older cousin, Hagar. Hagar and Milkman begin a love affair that sours spectacularly as Milkman grows into a louche, disconnected adult with his own plans for Aunt Pilate’s gold. Chased south by a knife-wielding Hagar and his best friend/co-conspirator and now would-be assassin, Guitar, Milkman searches for clues to the mysterious tragedy that set his family on this course decades before.

Morrison packs so much into this book—a secret society seeking eye-for-an eye revenge for the murders of Black citizens, a beyond-ancient midwife named Circe living with generations of Weimaraners in a ruined mansion, not to mention the most heart-rending depiction of grief I’ve ever read—it’s impossible to do it justice. Powering it all, however, are Morrison’s timeless concerns with the poisonous, warping effects of racism, and the intricate and bloody bonds of family. 

Greta & Valdin by Rebecca K Reilly

Greta & Valdin is a comedy of manners about capital-F Family, but contains only a single cousin who’s mostly conspicuous by his absence until—what else—an impromptu backyard wedding in the novel’s final pages. So why include it here? Because a) it’s fabulously funny and b) nearly everyone in the book falls into the category of ‘cousin-ish’: there are almost-grown nephews and uncles-by-marriage, and brothers-of-uncles-by-marriage, and every iteration in between. 

The novel flits between Greta and Valdin, a brother and sister both unlucky in love, at least for the time being. Greta is hung up on a colleague mostly just keen to get free admin support, and Valdin receives a book in the mail (which he is forced to collect at the sorting depot in the divinely relatable opening scene), from an ex-boyfriend he can’t get over. As the siblings negotiate the treacherous romantic terrain that is being in your twenties, they are accompanied by their magnificent Russian-Māori-French-Spanish-Italian-Argentinian family and a clutch of affairs and amicable splits and not-so-secret secrets—and yes, their cousin Cosmo, on the run from love troubles of his very own. 

Pop Jane Austen in a particle accelerator and that’s Greta & Valdin—the highest possible praise.

Purple Hibiscus by Chimamanda Ngozi Adichie

Kambili is quiet, pious, and always comes first in her year at her exclusive private Catholic high school, except when she doesn’t and the countdown begins on her father’s wrath. Purple Hibiscus, Chimamanda Ngozi Adichie’s deeply moving debut, suspends Kambili between two worlds. The first is her father’s: affluent, devout, and ferociously punitive. The second, her Aunty Ifeoma’s: full of good-natured debate, laughter, and tolerance, including of the Igbo culture to which Kambili’s father has severed all ties. As the first world starts to come apart when her father takes a stand against a military coup, Kambili starts to spend more time in the second, blossoming in the sunlight of their three spirited, intellectual cousins and Father Amadi, a definite forerunner of Fleabag’s Hot Priest. 

A nuanced portrait of a daughter’s devotion to her loving and monstrous father against a backdrop of political upheaval, Purple Hibiscus explores what it means to be torn—between your past and your future, your principles and your living, your obligations and your desires—and offers the faint hope that something worthwhile can grow from the split. 

Headshot by Rita Bullwinkel

Raw physicality, good backstory, spotlit psyche? The world of boxing has always fascinated writers—think Joyce Carol Oates, Norman Mailer, George Plimpton. Headshot, Rita Bullwinkel’s debut novel, expands the canon in more than just numbers: the novel takes place almost entirely in the ring, with each chapter devoted to a pair of boxers vying for the title of Daughters of America Cup over two days at Bob’s Boxing Palace in Reno, Nevada. Bullwinkel’s descriptions of the mechanics of boxing are beautifully inventive, but maybe her most audacious move is not only taking teenage girls seriously, in all of their idiosyncrasies, but depicting girls taking themselves seriously. 

The third round features Izzy and Iggy Lang, cousins who have trained and travelled together. Iggy, eccentric and irrepressible, wants just two things in life: to be a golden retriever and to succeed her adored older cousin Izzy. Izzy, on the other hand, mostly just wants rid of Iggy. As the fights progress, Bullwinkel reveals glimpses of the girls’ pasts and futures, and you find yourself rooting for each and every one of them to find some kind of fulfilment, if not in the ring.

Headshot presents young athletes at the top of their game—each fighter has her own reasons for being there but shot through every chapter is a unifying love of the sport and the tragedy of how little the outside world cares. 

Las Primas (Cousins) by Aurora Venturini, translated by Kit Maude

Las Primas, a brutal and brutally told account of disability, artistic flowering, and lower middle-class womanhood in 1940s Argentina, was Aurora Venturini’s break-out hit at the age of 85. We see the world of Las Primas through the eyes of Yuna—wide-eyed and sharp-tongued, Yuna is a celebrated young painter born into a family of ‘freaks’, as Yuna tells it, of which she very much counts herself a member. As she recounts a parade of rapes, back-alley abortions, and sudden deaths with a jaunty pace and provocative lightness of touch, there are two bright spots in the otherwise bleak landscape: Yuna’s burgeoning career, and her friendship with cousin Petra, a plucky, revenge-fuelled sex worker with dwarfism. After Yuna and Petra bond over the tragic death of Petra’s sister and a grisly murder, they begin to fashion an unconventional domesticity financed by Yuna’s painting and Petra’s sex work. There are few happy endings here, but that’s not Venturini’s province—Las Primas is unsentimental in the extreme, ushering in a freedom Venturini would prefer over happiness any day.